Drishyam Films is organising THE MASTERS, a monthly series of exclusive learning sessions with India’s finest cinematic talents.
This review contains spoilers. Tread lightly but do tread.
Language : English | Running Time : 134 Minutes | Director : Sriram Raghavan
Sriram Raghavan’s “Badlapur” starts off looking like he has been watching too much of Haneke’s “Caché” or Hitchcock’s “Rope” and it very well might be the shot of the year or atleast the best opening sequence in an Indian film this year. If in “Rope”, Hitchcock opens the film with a shot from the window, the viewpoint of a man looking down at the street opposite him and in “Caché”, Haneke shows us the vantage point of a street camera, in “Badlapur” Sriram Raghavan goes one further and makes the street scene seem like we are bystanders. The long shot gathers the workings of an ordinary Pune morning where two men bring down the shutters of a building, a woman is buying flowers with her child in hand, a guy is selling his wares and a cop is on his beat. Traffic is moving along on MG Road, Pune. All the while, we feel like bystanders who might be waiting for the bus or drinking tea from the neighbourhood tea vendor’s stall. There’s action but the enormity of the scene doesn’t register, not until a woman, Misha(Yami Gautham), is jumped and her car is used as a getaway vehicle by two bank robbers, Laik(Nawzuddin Siddique) and Harman(Vinay Pathak). In both “Caché” and “Rope”, the scene is supposed to show us the character’s eye, asking us to identify with the setting but in “Badlapur”, the sudden burst of action takes us by surprise, draws us in and rather than tell, Sriram Raghavan implies that there is something extraordinary taking place. And so we have the posters and the censor certified title of Badlapur always telling us “Don’t miss the beginning”, because here is Sriram’s best scene and one of the most magical of opening scenes I’ve witnessed. It’s beautiful, riveting and pulsating.Continue reading “Badlapur (2015) Movie Review : Dark, Twisted and PMSing Noir Film.”
Director: Sriram Raghavan
“Don’t Miss the Beginning”, the posters of the film ordered. Dutifully, I landed up at the first day first show screening. A Sriram Raghavan film is usually something to look forward to. Ek Hasina Thi and Agent Vinod have their sets of fans and naysayers. But Johnny Gaddaar is universally liked. True to its claim, the film begins with a terrific ‘post-heist’ scene. A casual shot of a road in Pune ends up as a double murder of a mother and child. The sudden shift from calm to violence will have your heart pounding. One of the perpetrators, Vinay Pathak escapes with the loot and the other one, Nawazuddin Siddiqui has no option but to surrender. We learn that the aggrieved father/husband is Varun Dhawan who for once, emotes the way one would emote in real life. Without resorting to theatrics. Nawazuddin denies he had anything to do with the murder and does not divulge details of his partner in crime. He is sentenced to twenty years in prison.
IIT Madras is presenting Imaging Cinema 2014, a Screenwriting-cum-Filmmaking Workshop from 7-14 June. The focus is on various aspects of screenwriting. Sessions on screenwriting will be conducted by experienced resource persons. Special session on aspects of direction and screenwriters will be conducted by established names from Mumbai and South Indian cine industries. Continue reading “Imaging Cinema 2014: Screenwriting and Filmmaking Workshop at IIT Madras”
Jagran Film Festival, has reached its 4th and concluding stage. Besides proudly presenting an exciting line up of national and international feature and short films across various genres from every corner of the world, the festival has also created a platform for cinephiles to discuss and get acquainted with various aspects of national as well as international cinema from global viewpoint.
Under the banner of Master Class, key representatives of national and international cinema are going to connect with each other for special insightful discussions on films. Sriram Raghavan, Govind Nihalani, Mahesh Bhatt, Saurabh Shukla, Piyush Mishra, Kamlesh Pandey, Pavan Malhotra, Rakeysh Omprakash Mehra, Goutam Ghose, Swanand Kirkire, Farouque M. Shaikh and Atul Tiwari are some of the names forming the part of the panel. There are going to be two panel discussions and one workshop to be held under the banner of Master Class.
LA Film Council on Co-productions : This is the first panel discussion under this banner going to be held on 25th September 2013, Wednesday at 11.30 am at Zee Preview, Fun Republic 1, Andheri West, Mumbai. The objective of this panel discussion is to facilitate Indian productions and investment in California, and similarly, encourage Hollywood productions and investment in India. It is also aimed to find solutions to overcome various production and distribution challenges faced by each of these industries in the other’s market. It offers a platform for commercial collaboration and knowledge exchange, which would support the technological development of the Hollywood and Indian film industries. It will also assist in cross-industry talent acquisition and creative collaboration.
Date and venue details : 25th September 2013, Wednesday at 11.30 am at Zee Preview, Fun Republic 1, Andheri West, Mumbai.
Master Class – Dervis Zaim : This is a workshop to be held on 26th September 2013 at 11:30 am by the famous Turkish Director Dervis Zaim. He is best known for his film The Cycle. Through this workshop, the festival provides an opportunity to everyone to learn his style of film making and get acquainted with his approach to cinema. In this workshop, which is mostly targeted to youngsters, the Turkish master teaches the art of cinema to the participans
Time and date : 26th September 2013 at 11:30 am Zee Preview, Fun Republic 1, Andheri West, Mumbai.
Master Class – Finding Money For Films : It is the second panel discussion under the banner, which is going to be held on 27th September 2013, Friday at the same venue and time. It is going to be a very interactive and fruitful discussion by the experts of the industry, which will guide and provide consultancy to new film makers and budding talents on how to find the right source to fund their upcoming projects.
Time and date : 27th September 2013 at 11.30 am
Venue: Fun Republic
Unmindful of their box office gains, I present a list of 10 films which I rate as the best churned out by Bollywood in 2012. A few obvious choices, a few dark horses. If you still haven’t seen any of them, consider this list as a recommendation.
But first, the consolation prizes. Continue reading “The Best of Bollywood: 2012”
‘Auteur‘is a French word which translated in English means ‘author’, the creator of the work. Having said that, cinema unlike the other arts like poetry, painting etc. is a collective art and includes contributions from other artists to make it a completed film and is not the work of a sole artist. However, the ‘Auteur Theory’ suggests that there is one prime force that leads to the creation of the film and that individual guides all the processes of filmmaking. It is the vision and worldview of this individual who makes the film special and thus a work of art. Continue reading “Anurag Kashyap: An Auteur Demystified”
I am not a big fan of reviews. They cloud your judgement and give you pre-conceived notions before you enter the hall. And no way is the rating a yardstick to decide the quality of a film. A critic is as much a guru of cinema as you are and is entitled to his or her own opinion. The only reason I go through his/her review is to find out if I did miss out on noticing a good point which a fellow cinema-buff did. The following article is therefore not a review but some features in Agent Vinod (AV from here onwards) which I personally loved and would want you to take note of as well.Continue reading “Agent Vinod and its moments!!!”
“I steal from every single movie ever made”, when Quentin Tarantino said those words, how deep he really meant it, only he can tell. It is impossible to avoid to not to be inspired before creating something, and when Quentin Tarantino said that, while he made his own films, he made a relevant reverential reference to a particular film produced earlier which might have influenced him when he made his films, and that can be easily identified in those films he made.