I remember watching Fandry in a packed theatre and the audience laughing at the character and his mishaps, but then came the gut-wrenching climax and the audience went numb because it exposed them. I cannot remember such a stunning silence after a movie, here I thought was a director who has failed but then he has done a much bigger job as he had shown us the mirror.
Kavalthurai Ungal Nanban (KUN) has been making some noise since it was released and it is presented by one of India’s best directors, Vetrimaaran I was waiting for the film to stream on OTT. The film is now streaming on Zee5.
There are very few films which have punched me in the gut and made me wonder how could someone make such a good film. It happened when I saw Pather Panchali when I was 17, when I watched King of Comedy at the age of 19, and most certainly when I watched Bombay at the age of 9.Continue reading “Alaipayuthey (2000): 3 Magical words”
Bombay now Mumbai, was a city considered to be a cosmopolitan city, a city which was only concerned about making money and not interested in knowing from where you have come from or who were you. Post ’92, the fault line has run deeply with ghettos that are now an integral part of my city. For a city which is the epicenter of Bollywood, there are hardly any movies based on ’92 riots. The one which comes to my mind are Bombay and Black Friday, both coincidentally directed by people by non natives. Continue reading “Bombay (1995): Mani Ratnam’s ode to the city that never sleeps”
The superhero genre has been under much discussion in recent times, with each camp divided over the same. In India, this genre is difficult to establish due to the followings 1) Our Heroes can literally do everything right from dance to fights 2) Most of our superheros are just blessed with divine powers. Continue reading “Hero (2019) Tamil Movie Review: The Origin Story of A Fraudster”
This is the time of the year when people like me are busy trying to hurry up with their year-end list compilations before heading out to celebrate the entry of the New Year. Usually I do try to go in for an in depth analysis of Indian Cinema, looking at the major happenings of the year in nearly all the dominant film industries, both Hindi and regional. But of late I’ve been caught up with all sorts of stuff; as a result I ended up being unable to come up with my mandatory year end posts for 2017, the one on Indian Cinema and the other one on Malayalam Cinema specifically. Hence I’ve decided that it’s time to play it wisely and focus mainly on the lists in particular and not the detailed anlysis. Why miss out on doing something that I am fond of altogether?Continue reading “The Best of Indian Cinema in 2018: A Perspective”
96 is a bittersweet amalgamation of the ‘BEFORE‘ series – chiefly ‘BEFORE SUNSET‘— by Linklater, beautifully mapped onto the Indian landscape by contouring out the emotional crests and troughs of childhood love, its extensions, and its sustenance. It is a triumph for one of the most interesting actors to emerge out on the Tamil screens, Vijay Sethupathi, who brings his own brand of ‘casualness’ to his act, yet segues it – mainly in the second-half – into a fine act embodying a character who pretends to be living in the ‘moment’ but is really living in the past savoring moments of first love which are, obviously, momentous to him. [In fact, the film opens with a song ‘The Life of Ram’, with the lyrics and visuals expounding on the loneliness that’s part of Ram’s existential crises, as well as the thread he hangs onto to continue his existence. It shows him living life as a travel photographer, but travelling alone, and seemingly enjoying the independence—(he pulls a cart for an old man in Calcutta; drives in circles in his car onto a vast, open field; sits staring at the horizon on a beach, and runs on sand-dunes in Rajasthan, while the lyrics convey his feelings that he hasn’t understood the world yet though his hair has greyed..)— that a relationship-less existence provides, but that’s actually a facade.] There’s a nod here to Ranbir’s characters from Ali’s films portraying his alone-self in a populated world that’s hard to miss.Continue reading “’96 Movie Review: Some Reflections…”
Is it the “curse of over exposure” or unbridled passion for the medium?, Which holds true for the maker as well a casual reviewer like me that one can spot influences all around, right from the first frame. At times it seems that all creative art forms are in this constant passage through ages taking the shape of contemporary values, interpretations, versions of entertainments and influences; And then there are some that leaves such strong impact for a very very long time, and across many future generations that eventually changes the basic definitions of grammar transforming a proper noun to adjective ; (case in point Orwellian, Tarantoinsih, Kafkaish….et.al) leaving in the process an everlasting creative ripple.Continue reading “Kurangu Bommai Movie Review: Isn’t flawless but works to an extent”
The game of Cops and Robbers has been a rich narrative source in Cinema, and it lends itself generously to most genres, be it drama, thriller, action or comedy. When the same is combined with the folksy tale of Vikram-Betaal (Vedhalam in Tamil) that we’ve grown up hearing, it is quite evident that the audience is in for a tale of a cop and a gangster, far removed from the sensibilities of a Gautham Menon or a Mysskin. After the rather enjoyable if a tad lightweight Oram Po and Va Quarter Cutting, director Pushkar-Gayathri return from a 7 year hiatus with Vikram Vedha, and it is up to the audience to decide, was it worth the wait?Continue reading “Vikram Vedha Movie Review: Oru Mellisaana Kodu”