tag:blogger.com,1999:blog-136121972024-03-14T13:09:17.455+05:30Films & meI’ve read more about films than actually seen them. It was the written word that influenced me to be interested in films. Be it reviews, interviews or even analytical studies. For me serious film-watching started quite late (late-teens) & that to purely commercial stuff.Paresh Palichahttp://www.blogger.com/profile/15521084555278491021noreply@blogger.comBlogger39125tag:blogger.com,1999:blog-13612197.post-59498342242721335892024-03-06T09:40:00.085+05:302024-03-07T22:17:51.566+05:30Kayo Kayo Colour by Shahrukhkhan Chavada - getting to the crux of matter<!--[if gte mso 9]><xml>
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<p class="MsoNormal" style="line-height: normal; margin-bottom: 0cm;"><span style="color: black; font-family: "Times New Roman","serif"; font-size: 12pt; mso-ansi-language: EN-US; mso-fareast-font-family: "Times New Roman";">The
Indian Film Industry is going through tumultuous times as of now; at the one
end we are basking in the glory of Oscars for our song and dance routine that
we assumed was the cause of ridicule amongst the
western audience, and at the other end we have the highest grossing film that
survived the threat of ban from the right wing groups on flimsy reasons as the
colour of bikini worn by the leading lady. But, the real reason for the commotion
was to cut the Muslim superstar around whom the movie was mounted to size.</span><span style="font-family: "Times New Roman","serif"; font-size: 12pt; mso-ansi-language: EN-US; mso-fareast-font-family: "Times New Roman";"></span></p>
<p class="MsoNormal" style="line-height: normal; margin-bottom: 0cm;"><span style="font-family: "Times New Roman","serif"; font-size: 12pt; mso-ansi-language: EN-US; mso-fareast-font-family: "Times New Roman";"></span></p>
<p class="MsoNormal" style="line-height: normal; margin-bottom: 0cm;"><span style="color: black; font-family: "Times New Roman","serif"; font-size: 12pt; mso-ansi-language: EN-US; mso-fareast-font-family: "Times New Roman";">In
India our output of films goes into thousands per annum and the number of films
that fly below the media radar is huge.</span><span style="font-family: "Times New Roman","serif"; font-size: 12pt; mso-ansi-language: EN-US; mso-fareast-font-family: "Times New Roman";"></span></p>
<p class="MsoNormal" style="line-height: normal; margin-bottom: 0cm;"><span style="font-family: "Times New Roman","serif"; font-size: 12pt; mso-ansi-language: EN-US; mso-fareast-font-family: "Times New Roman";"></span></p>
<p class="MsoNormal" style="line-height: normal; margin-bottom: 0cm;"><span style="color: black; font-family: "Times New Roman","serif"; font-size: 12pt; mso-ansi-language: EN-US; mso-fareast-font-family: "Times New Roman";">Kayo
Kayo Colour? (Which Colour?), a Hindi - Gujarati film shot in Kalupur,
Ahmedabad, in guerilla style with a lavish crew of two members and a humble
Sony 7 S3 camera and a couple of camera phones for equipment. This film too was
flying under the radar until the International Film Festival of Rotterdam
happened. </span><span style="font-family: "Times New Roman","serif"; font-size: 12pt; mso-ansi-language: EN-US; mso-fareast-font-family: "Times New Roman";"></span></p>
<p class="MsoNormal" style="line-height: normal; margin-bottom: 0cm;"><span style="font-family: "Times New Roman","serif"; font-size: 12pt; mso-ansi-language: EN-US; mso-fareast-font-family: "Times New Roman";"></span></p>
<p class="MsoNormal" style="line-height: normal; margin-bottom: 0cm;"><span style="color: black; font-family: "Times New Roman","serif"; font-size: 12pt; mso-ansi-language: EN-US; mso-fareast-font-family: "Times New Roman";">The
film directed by 28 year old Shahrukhkhan Chavada tells the story of a lower
middle class Muslim household staying in a predominantly Muslim Basti. The sole
breadwinner of the family Razzak (Imtiyaz Shaikh), has left his daily wages job
and wants to buy a second-hand autorickshaw to enhance his earnings. His wife
Raziya (Samina Shaikh) is sceptical about the prospect as they don’t have
savings to even survive for a few days.</span><span style="font-family: "Times New Roman","serif"; font-size: 12pt; mso-ansi-language: EN-US; mso-fareast-font-family: "Times New Roman";"></span></p>
<p class="MsoNormal" style="line-height: normal; margin-bottom: 0cm;"><span style="font-family: "Times New Roman","serif"; font-size: 12pt; mso-ansi-language: EN-US; mso-fareast-font-family: "Times New Roman";"> </span><span style="color: black; font-family: "Times New Roman","serif"; font-size: 12pt; mso-ansi-language: EN-US; mso-fareast-font-family: "Times New Roman";">The
young director seems to know the inner workings of a family leading an hand to
mouth existence, where the man maybe considered the provider where the cash is
concerned, but it is the lady of the house who is responsible for putting the
food on the table no matter if the man has given her the resources for doing
that or no.</span><span style="font-family: "Times New Roman","serif"; font-size: 12pt; mso-ansi-language: EN-US; mso-fareast-font-family: "Times New Roman";"></span></p>
<p class="MsoNormal" style="line-height: normal; margin-bottom: 0cm;"><span style="font-family: "Times New Roman","serif"; font-size: 12pt; mso-ansi-language: EN-US; mso-fareast-font-family: "Times New Roman";"> </span><span style="color: black; font-family: "Times New Roman","serif"; font-size: 12pt; mso-ansi-language: EN-US; mso-fareast-font-family: "Times New Roman";">In
a video chat after watching the film and noting the behind the scenes details
from the director, you can’t hold back your curiosity any further and you ask
him about the peculiarity of his name. Did he change it because he wishes to be
‘the King…’? “No, no I’ve no such ambition”, says the director whose shoulder
length hair is tied in a ponytail with the help of an elastic band and a well
trimmed beard giving him uncanny resemblance to Pathan. It was his mother and
Mama (maternal uncle), who’d selected this name for him. “In 1995, the year of
my birth SRK was a Chadta Suraj (rising sun), they were his ardent fans. So,
that is the only explanation I can give''. At this point his partner Wafa Refai
butts into the conversation “I even suggested to change his name before making
this film public otherwise Google will be confused about which Shahrukh people
are asking for, the superstar or the Ahmedabadi director. But, obviously my
advice fell on deaf ears”.</span><span style="font-family: "Times New Roman","serif"; font-size: 12pt; mso-ansi-language: EN-US; mso-fareast-font-family: "Times New Roman";"></span></p>
<p class="MsoNormal" style="line-height: normal; margin-bottom: 0cm;"><span style="font-family: "Times New Roman","serif"; font-size: 12pt; mso-ansi-language: EN-US; mso-fareast-font-family: "Times New Roman";"> </span><span style="color: black; font-family: "Times New Roman","serif"; font-size: 12pt; mso-ansi-language: EN-US; mso-fareast-font-family: "Times New Roman";">As
for the subject of the film, it evolved in slow simmer for the director who is
formally trained in Animation and VFX. “I was toying with the idea of making a
short film using one of the threads that became a part of this film”, says the
young director who used to freelance his expertise in filmmaking to other
directors in VFX, animation and even as a cameraman. “Then CAA - NRC happened.
That was a kind of political awakening for me. I began to understand how the
decisions taken by our political masters impact common people and things like fascism and all that. This was followed by the lockdown, which gave me an
opportunity to see Internati onal Cinema, especially Iranian and European films.
The simplicity of their storytelling and tackling intense subjects without
going overboard. I also went through a few open source filmmaking courses
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<![endif]--><span lang="EN-IN" style="color: black; font-family: "Times New Roman","serif"; font-size: 12pt; line-height: 115%; mso-ansi-language: EN-IN; mso-bidi-language: AR-SA; mso-fareast-font-family: Calibri; mso-fareast-language: EN-US; mso-fareast-theme-font: minor-latin;">I'd written this in the
first quarter of 2023 with a hope that it would be published in some news
portal, but stopped midway as I thought it was meandering and lacking focus.
Actually, I felt that thing I wanted to say about it wasn’t coming out the way
I wanted. So, what happened now to post a write up that is almost a year old? The
simple answer is that that I have found a video easily does the thing I strove
and failed to do, it puts the film into contemporary context. It is created by the <a href="https://www.thenousnetwork.com/" target="_blank">Nous Network</a>.<br /></span></p><div class="separator" style="clear: both; text-align: center;"><iframe allowfullscreen="" class="BLOG_video_class" height="266" src="https://www.youtube.com/embed/sRi7Yk_MrQw" width="494" youtube-src-id="sRi7Yk_MrQw"></iframe></div><div class="separator" style="clear: both; text-align: center;"><br /></div><div class="separator" style="clear: both; text-align: left;">And, here is a sensitive <a href="https://www.filmcompanion.in/reviews/other-reviews/kayo-kayo-colour-a-fiercely-humanist-film-that-resonates-with-the-history-of-ahmedabad-shahrukhkhan-chavada-gujarati-movies-international-film-festival-of-rotterdam" target="_blank">review</a> of the film by my friend <a href="https://dhruvam.wordpress.com/" target="_blank">Aswathy Gopalakrishnan</a>.<br /></div><br /><p class="MsoNormal"><br /></p><p></p>
<p class="MsoNormal" style="line-height: normal; margin-bottom: 0cm;"><span style="font-family: "Times New Roman","serif"; font-size: 12pt; mso-ansi-language: EN-US; mso-fareast-font-family: "Times New Roman";"></span></p>
Paresh Palichahttp://www.blogger.com/profile/15521084555278491021noreply@blogger.com0tag:blogger.com,1999:blog-13612197.post-48947688220127658172024-01-16T04:19:00.004+05:302024-03-04T22:22:34.901+05:30Viral Sebi - Not A Review<p><!--[if gte mso 9]><xml>
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</p><p style="margin-bottom: .0001pt; margin: 0cm;"><span style="color: #222222;"></span></p>
<p style="margin-bottom: .0001pt; margin: 0cm; text-align: justify;"><span style="color: #222222;">We
rarely see Road Movies, where real-time long distance travelling is shown
unravelling a story with the </span><span style="color: black;">characters <span style="mso-bidi-font-weight: bold;">placed</span> in </span><span style="color: #222222;">the confines of a moving vehicle.</span></p>
<p style="margin-bottom: .0001pt; margin: 0cm; text-align: justify;"><span style="color: #222222;"> </span></p>
<p style="margin-bottom: .0001pt; margin: 0cm; text-align: justify;"><span style="color: #222222;">This is
what Viral Sebi
directed by Vidhu Vincent is all about. Brilliantly written by Sajitha Madathil
and my friend <a href="https://www.facebook.com/leospeak" target="_blank">Anand Haridas</a> (we both started our journalistic career at the
same time more than two decades back), this film uses ‘a day in the life of a
cabbie’ form of narration to tackle a subject that is very topical and
pertinent to be discussed in depth.</span></p>
<p style="margin-bottom: .0001pt; margin: 0cm; text-align: justify;"><span style="color: #222222;"> </span></p>
<p style="margin-bottom: .0001pt; margin: 0cm; text-align: justify;"><span style="color: #222222;">Sudeep
Koshy plays the title role of Sebi aka Sebastian, the cabbie or the taxi
driver. Apart from being in a hectic profession, he is an avid vlogger (Sudeep
is a vlogger in real life too, <a href="https://www.youtube.com/@SudeepKoshyReviews" target="_blank">here</a> it is) <span style="mso-bidi-font-weight: bold;">with a liking for Rafi songs and the narcissistic urge of modern human
beings</span> to share on social media, every incident happening to them or the
experience they have (for example my friend <a href="https://www.facebook.com/rumroadravings" target="_blank">Manu Remakant</a>, I’m sure he can come
out with a decent book every six months with the content he shares on FB).</span></p>
<p style="margin-bottom: .0001pt; margin: 0cm; text-align: justify;"><span style="color: #222222;"> </span></p>
<p style="margin-bottom: .0001pt; margin: 0cm; text-align: justify;"><span style="color: #222222;">First
half of the film is dedicated to the mundane to extraordinary things that can
happen in a driver’s life starting from a violent students’ protest, where he
has to take a detour because a student is seriously injured and needs to be
taken to hospital, which makes him late for the airport pickup. There are other
passengers getting in and out of the car, some with idiosyncrasies and of
peculiar nature. A corporate honcho with perpetual petulance, a film star, <span style="mso-bidi-font-weight: bold;">a couple from the academic background, who we
soon realise are having an extra-marital affair</span> etc. The think tank
behind this movie uses these cameos to add layers to Sebi’s character. So, when
we reach the crux of the story we are comfortable with him.</span></p><p style="margin-bottom: .0001pt; margin: 0cm; text-align: justify;"><span lang="EN-IN" style="font-family: "Times New Roman","serif"; mso-ansi-language: EN-IN;"> </span></p><p style="margin-bottom: .0001pt; margin: 0cm; text-align: justify;"><span lang="EN-IN" style="font-family: "Times New Roman","serif"; mso-ansi-language: EN-IN;"></span></p><div class="separator" style="clear: both; text-align: center;"><span lang="EN-IN" style="font-family: "Times New Roman","serif"; mso-ansi-language: EN-IN;"><iframe allowfullscreen="" class="BLOG_video_class" height="266" src="https://www.youtube.com/embed/d-g3BGugRqo" width="567" youtube-src-id="d-g3BGugRqo"></iframe></span></div><p style="text-align: justify;"><span lang="EN-IN" style="font-family: "Times New Roman","serif"; mso-ansi-language: EN-IN;"><br />I didn’t know much about Sudeep before watching this
film; I thought he is an actor with theatre background and got Bhikhu Mhatre
(Manoj Bajpayee in Satya) kind of entry into the film industry. He was with an
unkempt beard and used street lingo peppered with cuss words. But, seeing his
YouTube channel left me in utter shock; here he is suave and urban talking
about luxury cars dropping automotive jargon at will.</span></p><p style="text-align: justify;"><span lang="EN-IN" style="font-family: "Times New Roman","serif"; mso-ansi-language: EN-IN;"> </span><span lang="EN-IN" style="font-family: "Times New Roman","serif"; mso-ansi-language: EN-IN;">I’d asked Anand if he was inducted in the team to get
the street lingo and the cuss words right... I better keep his reply to myself.</span>
</p><p class="MsoNoSpacing" style="text-align: justify;"></p>
<p class="MsoNoSpacing" style="text-align: justify;"><span lang="EN-IN" style="font-family: "Times New Roman","serif"; mso-ansi-language: EN-IN;">Now coming back to the crux of the story; Sebi gets a
trip to Bengaluru with a foreign lady as the passenger. She has to reach the
destination at the earliest to catch a flight. At first their relationship is confrontational;
she is very anxious and angry. As we move forward we get to know that she is a
Palestinian refugee in Jordan Afra (Meera Hamed). She is here on scholarship
pursuing her post graduation in English. She too gets embroiled in the
agitation and one of her friends is arrested. She is on the run because if she is
arrested she will be deported and will not be allowed to return and complete
her education.</span></p>
<p class="MsoNoSpacing" style="text-align: justify;"></p>
<p class="MsoNoSpacing" style="text-align: justify;"><span lang="EN-IN" style="font-family: "Times New Roman","serif"; mso-ansi-language: EN-IN;">It is here that we begin to see how topically relevant
and universal this film is. The first thing that came to mind was of the story
of the Afghani students in North India, they weren’t sure if they were lucky or
unlucky to be far away from their homeland when the US troops left it overnight
in the hands of Taliban. The other thing that struck me is the fact that it is
a warning for fence-sitters like Sebi (he considers the students protest as a
nuisance as it disrupts his effort to earn his daily bread) that he may suffer
the same fate in the near future by remaining passive when there is an upheaval
around.</span></p><p class="MsoNoSpacing" style="text-align: justify;"></p><p class="MsoNoSpacing" style="text-align: justify;"></p><p class="MsoNoSpacing" style="text-align: justify;"></p><p class="MsoNoSpacing" style="text-align: justify;"></p><p class="MsoNoSpacing" style="text-align: justify;">You can watch Viral Sebi <a href="https://www.actionott.com/watch/viral-sebi.html" target="_blank">here</a>.<br /></p>
Paresh Palichahttp://www.blogger.com/profile/15521084555278491021noreply@blogger.com0tag:blogger.com,1999:blog-13612197.post-17573464057083036292022-11-22T07:42:00.000+05:302022-11-22T07:42:22.102+05:30Wonder Women & Zachariayude Garbhinikal
<p style="text-align: justify;">I had <a href="https://www.facebook.com/ppalicha/posts/pfbid0JFCTVSdrmL27MTxnUBMZV1PHM5P8v8eu9o6TvAJ2gEWXBqwjopeuF6STgqQmTs32l?notif_id=1668737859039966&notif_t=feedback_reaction_generic&ref=notif" target="_blank">posted this</a> a few days back after watching <i><a href="https://www.sonyliv.com/movies/wonder-women-1000196069?watch=true" target="_blank">Wonder Women</a></i>, Anjali Menon's very short opus (just around 80 mins long) about prenatal care, pep talk for expectant mothers who go through a lot of physical and mental discomfort during the nine months of pregnancy or to put it more esoterically in the process of bringing a new life into this world and everything imaginable in between.</p><p>This is not a review of the film. I will just say that this film is utterly disappointing as to say in cricketing parlance; a batter gets a Free Hit but she just blocks the delivery. Same way, Anjali squanders the opportunity of having a stellar cast and a subject with a depth that could be dwelled up on for many seasons as a web series.</p><p>Here is a full-blooded <a href="https://www.filmcompanion.in/reviews/malayalam-review/wonder-women-review-fine-actors-in-a-movie-preoccupied-with-cheerfulness" target="_blank">review</a> of <i>Wonder Women</i> by Aswathy Gopalakrishnan that fluently echoes my thoughts about the film.</p><p>And, watch <i>Zachariayude Garbhinikal </i>online<i> <a href="https://www.hotstar.com/in/movies/zakkariyayuda-gharbhinikal/1000164979/watch?utm_source=gwa" target="_blank">here</a> </i>for free.</p><p>Given below is my nearly a decade old review of this excavated from an old hard drive (haven't corrected the typos and other errors). </p><p> <i>
Zachariayude Garbhinikal </i>
</p>
<p> <b>Paresh C Palicha</b></p>
<p style="text-align: justify;">Pregnancy is the flavour of the season in Malayalam Cinema, as it has released two films related
to pregnancy in the gap of few weeks. First, there was <i>Kalimannu</i>, the much hyped film featuring a
pregnant Swetha Menon, now there is <i>Zachariayude Garbhinikal</i> a film by Aneesh Anwar telling the
story of a gynaecologist named Zacharia and most of them are complicated.</p>
<p style="text-align: justify;">
There are five of them that he is dealing with now. One of them is a middle age woman and and a
former nun played by Geetha, who after getting out of the seminary wishes to be a mother so she gets
impregnated medically by our doctor. Sister Jasmine Jennifer (Geetha) gets lot of attention from the
media for her decision.</p>
<p style="text-align: justify;">
Then there is Anuradha (Sandra Thomas) who has got pregnant in an extramarital affair. Her
husband played by Joy Matthew is on the deathbed after a car accident. So, Anuradha is undecided
whether to terminate the pregnancy or to keep it as it will be something to live for after her husband's
death.</p>
<p style="text-align: justify;">
Saira (Sanusha) is a bold teenager who comes to Dr. Zacharia pregnant and wants his help to
deliver the baby safely and give it for adoption. But, on the condition that she will not reveal the identity
of the person responsible for her condition.</p>
<p style="text-align: justify;">
Fathima (Rima Kallingal), who works as a nurse in Dr. Zacharia's hospital fakes pregnancy to win
the sympathy of her employer who is otherwise very harsh on indisciplined employees.</p>
<p style="text-align: justify;">
With the plot laid out like this with Indrajith's voice-over. He also informs us that the typical irony
of fate that Dr. Zacharia is still childless in spite of being happily married to Susan (Asha Sharreth) for a
long time. And, as we expect the couple decide to adopt Saira's baby on delivery.</p>
<p style="text-align: justify;">
Sister Jasmine is the first to deliver and it is in the most dramatic way, she herself drives the car to
the hospital at the height of labour pain as one of her brothers refuses to help her.</p>
<p style="text-align: justify;">
As we move ahead in the story we see Saira being taken care by the future parents of her baby. We
see her change from a rebellious youngster to a responsible expectant mother.</p>
<p style="text-align: justify;">
Zacharia is a person with morals, with 'no abortion, no caesarian' values. He gives a lecture to
Anuradha against abortion that too when she is carrying twins. But, his character do not go beyond this.
One question lingers in our head much after the film is over as to why he did not opt for a medical
solution for his childless life despite of being a gifted professional in this field. This is one of the most
controlled and silent performance of Lal in his acting career.</p>
<p style="text-align: justify;">
The other characters who demand our attention are Saira done by Sanusha, where the young
actress has to be switching gears swiftly from being jovial one moment to being angry or vulnerable in the
next, which she does impressively well. Fathima is another one where Rima has to spread mirth using a
peculiar slang that seems to be coming naturally to her. Aju Varghese playing Ajmal, a colleague of
Fathima who is besotted by her is a surprise package. Here he does a role of a conventional hero, yet he
leaves his humorous stamp on it.</p>
<p style="text-align: justify;">
These are the people who keep this uneven project afloat when it hits the rough whether a few
times.</p>
<p style="text-align: justify;">
Zachariayude Garbhinikal is complicated in some places and overly simplified in others leaving
the viewer confused by the end.</p>
<p style="text-align: justify;">
2 1⁄2 stars.</p>Paresh Palichahttp://www.blogger.com/profile/15521084555278491021noreply@blogger.com0tag:blogger.com,1999:blog-13612197.post-65624372077173785932022-04-29T03:23:00.006+05:302022-04-29T03:23:44.118+05:30BroDaddy – Not A Review<div style="text-align: justify;"></div><div style="text-align: left;"><div class="separator" style="clear: both; text-align: center;"></div><div style="text-align: justify;">Just a few rambling thoughts…</div></div><div style="text-align: justify;"><br /></div><div style="text-align: justify;"><br /></div><div style="text-align: justify;">The first thing that came to mind in the pre-release teaser/trailer days was “this is ghost directed by Priyadarshan” or a more appropriate way to put it would be “Prithviraj tipping his hat to the master director of his growing up years”.</div><div style="text-align: justify;"><br /></div><div style="text-align: justify;"><br /></div><div style="text-align: justify;">The feeling that one gets as we get into the story: “Oh! This maybe a truly New Gen movie where youngsters grapple with issues of Living Together, premarital sex, contraceptive malfunction, unwanted pregnancy and its aftermath (I almost gave it a thumbs up thinking that how much we have progressed from the naivety of Bangalore Days, where an anxious Dulquer asks Nivin after he has spent a night at Isha Talwar’s place what were they doing there whole night? To which Nivin replies with childish excitement “we were playing Antakshari”).</div><div style="text-align: justify;"><br /></div><div style="text-align: justify;"><br /></div><div style="text-align: justify;">Prithviraj and Kalayani Priyadarshan play the young couple, he is a top ad guy and she an IT person. Their parents are friends. They pretend to be hardly knowing each other in front of their folks let alone being in a relationship or being together. So, the unwanted pregnancy is the bone of contention or conflict quotient of the story? Not really, it is an incident that will pass before the youngsters get a chance to grapple with the issues pertaining to it.</div><div style="text-align: justify;"><br /></div><div style="text-align: justify;"><br /></div><div style="text-align: justify;">It so happens that his parents announce the imminent arrival of their second child to their son who is supposedly in his mid to late twenties. So, here the father leads the son by example on how to treat his pregnant wife/partner. And, there are no quibbles about the old couple expecting a child a la Badhai Ho (2018), nor from the gynac played by Jagadeesh (the concerns about the biological clock or health of the middle aged expectant lady fly out of the window) or the matriarch of the family played by Mallika Sukumaran challenges other men of the clan to prove their virility as her son portrayed by Mohanlal to win her affection.</div><div style="text-align: justify;"><br /></div><div style="text-align: justify;"><br /></div><div style="text-align: justify;">Meena is the lady paired with Mohanlal, she is a constant companion of Mohanlal from 90s (the days he was playing a guy in his mid 30s) till Drishyam 2 where he is an undefined middle-aged person with two grown up daughters. To check for such details in this film is futile. Here the sole aim is to whip up nostalgia of Mohanlal at his jovial romantic best in say films like Chitram and Vandanam.</div><div style="text-align: justify;"><br /></div><div style="text-align: justify;"><br /></div><div style="text-align: justify;">In fact one gets a feeling that this is a course correction for Prithviraj as a filmmaker. In his first outing as a director Lucifer scripted by Murali Gopy where Mohanlal has a brooding silence and gets a couple of Mundu Maduki Naadan Thallu kind of fight sequences in the first half, then the New Gen takes over with the director leading the action sequence choreographed as commando fight or guerilla warfare in the climax, and Mohanlal seemingly sleepwalking through it in slow motion without folding his Mundu and bodies of bad guys falling around him. In the end of that fight scene he is seated on a chair in front of a huge stage where an item song is going on. For me this sequence meant that the youngsters were telling the patriarch to take a seat and enjoy himself while they takeover the action. (In fact, I find such subtexts in every Murali Gopy script and that deserves a separate post for itself).</div><div style="text-align: justify;"><br /></div><div style="text-align: justify;"><br /></div><div style="text-align: justify;">In this film the director gives back the driving seat to the aged Star. He is the propeller of the story by being the problem solver in his son’s life. It is a race against time tale as his son should be married before the girl starts showing her baby bump. He even dispenses some life lessons like having a child will change your priorities, career will take the backseat and some such things.</div><div style="text-align: justify;"><br /></div><div style="text-align: justify;"><br /></div><div style="text-align: justify;">Again we get the memory of director Priyadarshan when we see the villain in this film Lalu Alex (not exactly a villain but a dimwitted cartoonish character who has the potential of spoiling our Hero’s party at any given moment).</div><div style="text-align: justify;"><br /></div><div style="text-align: justify;"><br /></div><div style="text-align: justify;">And, last but not the least - the fourth wall is broken so to speak, when he speaks about his business of building materials, specifically TMT rods and his philosophy behind its advertising (to paraphrase it he says “my target is the common man who is building his home and not the engineers building skyscrapers as you new gen boys believe”) as you can see in the videos below:</div><div style="text-align: left;"><br /></div><div style="text-align: left;"><br /></div><div class="separator" style="clear: both; text-align: center;"><iframe allowfullscreen="" class="BLOG_video_class" height="315" src="https://www.youtube.com/embed/Q0p2FCzFNvc" width="778" youtube-src-id="Q0p2FCzFNvc"></iframe> </div><div class="separator" style="clear: both; text-align: center;"> </div><div class="separator" style="clear: both; text-align: center;"> </div><br /><div class="separator" style="clear: both; text-align: center;"><iframe allowfullscreen="" class="BLOG_video_class" height="438" src="https://www.youtube.com/embed/izGwrqro2f0" width="687" youtube-src-id="izGwrqro2f0"></iframe> </div><div class="separator" style="clear: both; text-align: center;"> <br /></div><div style="text-align: left;"><br /></div><div class="separator" style="clear: both; text-align: center;"><iframe allowfullscreen="" class="BLOG_video_class" height="293" src="https://www.youtube.com/embed/I0dq7rYcpD4" width="680" youtube-src-id="I0dq7rYcpD4"></iframe></div><p></p><p style="text-align: justify;"> </p><p style="text-align: justify;">In Malayalam Kambi (as TMT Bars or any other metal string, rods etc are called) is an innuendo in street lingo for arousal/erection. So, if this film was released in theatres it would have brought the house down every time this word is used, at least for the first few days when fan clubs pack the halls to cheer their stars, shower glitters and whistle whenever they appear on screen, deliver a punchline or crack a joke.</p><p style="text-align: justify;">*************************************************************************************</p><p style="text-align: justify;">Most of these thoughts sprouted in my head when I saw the film on the day it dropped in OTT (26 Jan 2022) & jotted them down in the next few days. But, somehow a part of me was very reluctant to make them public.<br /></p><p style="text-align: justify;"><br /></p>Paresh Palichahttp://www.blogger.com/profile/15521084555278491021noreply@blogger.com0tag:blogger.com,1999:blog-13612197.post-10273476425762382082016-04-26T00:26:00.000+05:302016-04-26T02:15:48.755+05:30Leela<div dir="ltr" style="text-align: left;" trbidi="on">
Director Ranjith had announced Leela based on a short story by Unni R long back, after that names of many actors did rounds to play the main lead, a complex character named Kuttiyappan. But, the project took off the ground only recently with Biju Menon (an actor who has created a niche for himself playing the comic second lead). It seemed to be a curious choice as the story on which it is based on is of serious nature and provided very little cinematic scope. Then the trailers came out, they convinced us that it is more of a Biju Menon film than a film inspired by Unni’s story or a film directed by Ranjith.<br />
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Here Kuttiyappan (Biju Menon) makes an entry on horseback with a cowboy hat and all the paraphernalia, in the town centre in the middle of the night. This ingenious choice of transport is to avoid blowing into the breath analyser that cops put in front of you and being booked for drunk driving. This sets the tone for things to come.<br />
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Kuttiyappan is a scion of a rich plantation family of Kottayam. He is single and can throw wads of currency notes to get whatever he wishes to have and that includes call girls from all round the State. He has an ageing lady as domestic help and Pillechan (Vijayaraghavan) as his mate. He is a typical hero who looks lecherous from outside and golden hearted inside as he does not take advantage of a female who was compelled to enter the flesh trade. He even finds a respectable job for her.<br />
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These are the facts about Kuttiyappan’s character. But, the core of the story is Kuttiyappan wanting to fulfil one of his sexual fantasies that involves an elephant. For this he goes on a search of an elephant owner who would spare an elephant for an hour or so. And, he would also need a courageous lady to accompany him near the animal, lean on its tusk and engage in an act of love with our man. Such a scenario can be crisply explained in a short story. And, we can put it aside with a smile or a grimace on our faces as per our temperament. On the other hand, in cinema it should be acceptable to a wider audience so, it should be wrapped in something glitzy; here it is Biju Menon, every second line he utters is laced with humour and he does have an opinion on everything, be it the politics, religion or the dignity deserved by sex workers who are the true socialists in his opinion. All these utterances does make us wonder whether these lines were fed to him by the writer Unni or was he expressing the thoughts of the director as he does not seem to have the depth to contemplate about such things.<br />
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Kuttiyappan is new-gen feudal Themmadi, not as harsh as the original one Mangalassery Neelakantan created by Ranjith himself for Devasuram (1993). The new-gen one roams around in shorts and sleeveless vests when he is home. He has tattooed biceps, yet he does not let us forget that we are watching Biju Menon act and the trademark one-liners keep coming thick and fast. Vijayaraghavan who acts as the hunchbacked and the ageing mate of Kuttiyappan. His father was the caretaker of Kuttiyappan’s household and his wife accuses him of carrying on with that servility in this generation and he does impress us doing that. Jagadeesh is another actor who surprises by taking up a cameo that we could never imagine he would be fit for.<br />
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The females make just fleeting appearances as if they are punctuation marks amidst sentences, telling us that things would have been messier if they were absent from the scene. Be it Parvathy Nambiar donning the title role or be it Pillechan’s wife played by Parvathy Sr. do leave an impression.<br />
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Leela may carry the buzz that it deals with a controversial subject, but if a band of moral police or a family with children go in expecting another comic caper from Biju Menon in the vacation time; both sets of people will come out happy finding nothing objectionable in the film.<br />
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So, you can safely that Leela is not an adaptation of a bold story by Unni R or even a piece of Ranjith cinema, but just a film catering to Biju Menon fans.<br />
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<b>As it appeared in <a href="http://www.rediff.com/movies/report/review-leela-caters-to-biju-menons-fans/20160425.htm">Rediff</a>.</b></div>
Paresh Palichahttp://www.blogger.com/profile/15521084555278491021noreply@blogger.com1tag:blogger.com,1999:blog-13612197.post-45814157966091891132016-03-29T00:17:00.000+05:302016-03-29T00:17:09.595+05:30Kali<div dir="ltr" style="text-align: left;" trbidi="on">
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Siddharth (Dulquer Salmaan) is perpetually irritated and on a short fuse. There is nothing wrong with the world around him. It is just that his brain is wired in a peculiar way, he dislikes noise and even a casual chat beyond a point makes him uneasy. The only person who can keep a check on his mood swings is his wife Anjali (Sai Pallavi). They were lovers from their college days and have married against the wishes of their parents, so, they are leading a lonely and mundane life as any other young couple. But, we anticipate the worse to befall on them any moment because of Siddharth’s volatile nature.</div>
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This is the basic premise of Kali, the new film directed Sameer Thahir. This film runs a few minutes lesser than two hours and the first half is spent in establishing the characters and the plot. The writing by newcomer Rajesh Gopinadhan goes on adding layers to the characters thereby giving more substance to the subject as we move forward. </div>
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Take for instance the fact that Siddharth works in a bank where he has to be in direct touch with the customers and his grumpy nature puts his career in jeopardy. This thing is further enhanced by showing Siddharth going into a car workshop after a minor accident and the executive there gives him the sad news that he cannot claim insurance and has to pay from his pocket, he says it with an accompanying laughter. When asked why he does not stop laughing even while giving a bad news? And, the reply he gets is; “I’ll lose my job if they don’t see me smiling while talking to a customer.”</div>
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There are many such instances where exclamation marks are given to bring a point home. Like there are loud drumbeats when Siddharth’s temper is boiling then there is silence if he gets it under control and we know that a crisis situation is temporarily averted.</div>
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It would be apt to say that this is a social film in the first half where a man with quirky personality trying to fit in the society by being ‘normal’ and by behaving in a socially acceptable way. And, in the second half, the narrative changes gear to be in a thriller mode by taking the form of a ‘road movie’. This transformation is smooth as we see the characters we care for getting embroiled in undesirable situations. </div>
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Here too the teamwork of the writer and the director is highlighted as they time to build up the scenarios before making their characters jump into them.</div>
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As for the characters, they do have shortcomings and they are aware of that. Take the case of Siddharath, he understands that something is wrong with him and tries to improve or control it. He is not boastful of his righteousness or does not try to justify himself often. Dulquer Salmaan is near perfect in portraying the character. Sai Pallavi brings a magic potion with her as Anjali that would make any man change for her if she tells him to. Chemban Vinod Jose does gives us goosebumps with his villainous act in the second half. </div>
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All things seen and considered, Kali has the potential of becoming a rage with the viewers in the coming days.</div>
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<b>As it appeared in <a href="http://www.rediff.com/movies/report/review-kali-impresses/20160328.htm">Rediff.</a></b></div>
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Paresh Palichahttp://www.blogger.com/profile/15521084555278491021noreply@blogger.com1tag:blogger.com,1999:blog-13612197.post-45456397425966434522015-10-27T06:07:00.000+05:302015-10-27T06:07:11.686+05:30Rani Padmini<div dir="ltr" style="text-align: left;" trbidi="on">
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There are hardly any films made where female artists get to be on equal footing with the male protagonists let alone films with female being the lead character so when a director makes a film with to female protagonist with no male with the star value to speak of to accompany them, this by itself becomes a novelty and attracts audiences to the theatre. Director Ashiq Abu takes up this gamble and makes <span style="font-style: italic;">Rani Padmini </span>with his wife Rima Kallingal and Manju Warrier doing the title roles without overtly having any feminist slant.</div>
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This is a typical story of two people being at the extreme ends of the spectrum and put together by fate. Here Rani (Rima Kallingal) who is tomboyish and ready to take up cudgels against male or female to prove a point. And Padmini being introverted and docile to the hilt. Rani has grown up in Delhi without any male protection while Padmini grows up in a traditional house hold with her father being a practitioner of aurvedic medicine. She migrates to Delhi after being married to Giri (Jinu Joseph) with Sajitha Madathil playing her mother in law. Giri is a car rally enthusiast and has been the winner of the Great himalayan car rally for the last couple of years. </div>
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Giri’s mother had put this thought forward that she was looking for a homely daughter in law so that she has a companion while her son roams around rallying but after marriage Padmini who is a physiotherapist by training and wishes to join a hospital near by. The reaction to which is extreme, Giri signs mutual divorce application at the behest of his mother before leaving to participate in the Himalayan car rally. So Padmini gathers courage and catch us the next bus to Manali which is the starting point of the rally. In the bus she bumps into Rani and from here their adventurous journey through the northern India where money plays an very important role begins. </div>
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One thing needs to be emphatically said here is the fact that this film present some of the most enthralling visuals of northern India where snow capped peaks and verdant surroundings are seen to be believed. </div>
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As for Rani’s back story she has got into trouble with a self-styled goon who had come into her neighbourhood very recently. And, he is running away from them to save her life. </div>
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This film has humour ranging from very subtle to being slapstick in the true sense.</div>
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Acting wise both the female guard their space with power house performances. While Manju is presented as having feminine attributes while Rima is shown as having masculine traits. Once she even jokes that they are lesbian lovers and this is their honeymoon trip. </div>
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Dileesh Pothan as a malayalam news reporter covering the car rally and Soubin Shahir as his camera man bring the house down a few times.</div>
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Finally we can say that Ashiq Abu has given us a real entertainer with <span style="font-style: italic;"> Rani Padmini </span>which is not a feminist film per se.</div>
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<b>As it appeared in <a href="http://www.rediff.com/movies/report/review-rani-padmini-entertains/20151024.htm">Rediff</a>.</b></div>
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Paresh Palichahttp://www.blogger.com/profile/15521084555278491021noreply@blogger.com1tag:blogger.com,1999:blog-13612197.post-14430543741404651192015-09-26T04:30:00.000+05:302015-09-26T04:30:52.218+05:30Life of Josutty<div dir="ltr" style="text-align: left;" trbidi="on">
<div align="left" lang="en-US" style="line-height: 100%; margin-bottom: 0.18cm; margin-top: 0.18cm; orphans: 2; widows: 2;">
<span style="font-size: small;"><span style="font-family: Times New Roman, serif;"><i>Life
of Jossutty </i></span><span style="font-family: Times New Roman, serif;">Jeethu
Joseph's new venture after the stupendous successes of Drishyam and
its Tamil remake </span><span style="font-family: Times New Roman, serif;"><i>Papanasam
</i></span><span style="font-family: Times New Roman, serif;">carried very high
expectations. This film starring Dileep is a coming of age story of a
young man which is told with a sensitivity that we least expect from
a Dileep film and humour is kept at a low boiling point which forces
a smile or a chuckle from the viewer. </span></span>
</div>
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<span style="font-family: 'Times New Roman', serif; font-size: 12pt; line-height: 100%;">Josutty
(Dileep) is a typical malayali hero who is naive and with a heart of
gold and to top it his family is debt ridden with a younger sister
yet to be married and another sisters dowry yet to be paid. As a
child he wished to be a priest and serve the lord but he falls for
the charms of Jessy his neighbour. And as luck would have it this
relationship is doomed to be a failure as Jessy's father would not
accept an uneducated and a pauper as his daughter's husband. So, he
somehow makes Jessy understand the gravity of the situation and she
gets married to the man of her father's choice. On the other hand
Josutty readies himself to marry a divorced nurse who is working in
New Zealand and promises to take his family out of financial trouble.</span></div>
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<span style="font-size: small;"><span style="font-family: Times New Roman, serif;">The
rest of the story was expected to be a humorous take on how an
uneducated house husband takes in the experiences of being in an
alien land. But, the director gives us is a kind of shocking
surprise. We not only see the ego battering condition of a house
husband has to survive in a foreign land, but also the exploration of
the layered man woman relationship without being judgmental. The
story by Jayalal Menon’s story does try to hammer down the message
that lots of conflict in life can be avoided if we think by being in
the person’s shoes. That just feels as a slight glitch if you see
the overall impact it delivers.</span></span></div>
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<div align="left" lang="en-US" style="line-height: 100%; margin-bottom: 0.18cm; margin-top: 0.18cm; orphans: 2; widows: 2;">
<span style="font-size: small;"><span style="font-family: Times New Roman, serif;">We
even feel that there is an attempt to appease the Star’s fan clubs
by inserting a line and there in his voice over narration that
induces a few claps from them otherwise Dileep’s performance is
subdued and realistic as it could be. In the beginning he does give a
feeling that it is one of his typical kinds of films with actors like
Noby and Saju Navodaya on his side. But, they depart once he is in
New Zealand and here it is Chembil Asokan who takes their place along
with Aqsa Bhatt (who is one of the three women in his life).</span></span></div>
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<div align="left" lang="en-US" style="line-height: 100%; margin-bottom: 0.18cm; margin-top: 0.18cm; orphans: 2; widows: 2;">
<span style="font-size: small;"><span style="font-family: Times New Roman, serif;">Rachana
Narayanakutty as Jessy appears and disappears once in a while. Her
appearance is to provide comic relief as she is pregnant every time
she makes an entry. Jyothi Krishna as Rose who appears as Jossutty’s
wife impresses depicting a complicated character. </span></span>
</div>
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<span style="font-family: 'Times New Roman', serif; font-size: 12pt; line-height: 115%;">Hareesh
Perady as Jossutty’s father gives a moving performance as the
character who is idolised by his son.</span></div>
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<div align="left" lang="en-US" style="line-height: 100%; margin-bottom: 0.18cm; margin-top: 0.18cm; orphans: 2; widows: 2;">
<span style="font-size: 12pt;"><span style="font-family: Times New Roman, serif;">On
the whole, with </span><span style="font-family: Times New Roman, serif;"><i>Life of
Josutty</i></span><span style="font-family: Times New Roman, serif;"> director
Jeethu Joseph carries on his good form that he showed in </span><span style="font-family: Times New Roman, serif;"><i>Drishyam</i></span><span style="font-family: Times New Roman, serif;">
giving Dileep one of the best character of his acting career.</span></span></div>
<div align="left" lang="en-US" style="line-height: 100%; margin-bottom: 0.18cm; margin-top: 0.18cm; orphans: 2; widows: 2;">
<span style="font-size: 12pt;"><span style="font-family: Times New Roman, serif;"><br /></span></span></div>
<div align="left" lang="en-US" style="line-height: 100%; margin-bottom: 0.18cm; margin-top: 0.18cm; orphans: 2; widows: 2;">
<span style="font-size: 12pt;"><b style="background-color: white; font-family: 'Trebuchet MS', Trebuchet, Verdana, sans-serif; font-size: 14.4px; line-height: 14.4px; text-align: justify;">As it appeared in </b></span><span style="font-family: Trebuchet MS, Trebuchet, Verdana, sans-serif;"><span style="font-size: 14.4px; line-height: 14.4px;"><b><a href="http://www.rediff.com/movies/review/review-life-of-josutty-impresses/20150925.htmL">Rediff</a>.</b></span></span></div>
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Paresh Palichahttp://www.blogger.com/profile/15521084555278491021noreply@blogger.com1tag:blogger.com,1999:blog-13612197.post-73655821629882807632015-09-24T00:55:00.001+05:302015-09-24T00:55:38.479+05:30Njan Samvidhanam Cheyyum<div dir="ltr" style="text-align: left;" trbidi="on">
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The
digital technology has made the process of film making so easy that
anyone with a decent cell phone and internet connection can claim to
be a filmmaker, so, eyebrows are not raised or people do not get
shocked when they hear the phrase “I’m going to be a director”
as they did in the past. But, veteran actor-director Balachandra
Menon would like us to believe that things have not changed and
breaking into this field is an arduous thing as it was when he was in
his prime. Why else you will have a mother of a daughter on the
threshold of her twenties doing a degree in visual communication
freaks out when her daughter expresses a desire to be a film maker
after completing her graduation.</div>
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But
this is not story of the young girl trying to break into a male
bastion called film direction, it is the story of her middle aged
father who on a whim decides that he will direct a film after
chucking a cushy job as a bureaucrat in a film corporation.
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Basically,
this film is just about Balachandra Menon’s observations about the
happenings in the industry while he was away. He begins with leading
ladies opting to marry and leave the industry at the peak of their
career and coming back after a couple of years and seeking divorce.
This topic discussed in the television news and chat shows, we see a
bank manager named Gayathri making a few progressive points about
leading a happy family life where she talks about an individuals
freedom inside the marriage, trust , faith and such things. The next
thing we see is she conducting a homam at home for her daughter who
is adamant to become a film director.
</div>
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<div align="justify" style="line-height: 100%; margin-bottom: 0cm;">
Gayathri
is the wife of Krishna Das (Balachandra Menon) who has stayed
separately from his wife due to his transferable job. She shows a
brave face in public but she is insecure from inside regarding her
husband’s lifestyle. She calls him back to advise their daughter
against going into films, but he eventually announces that he is
going to direct a film. It takes just a little while to convince her
and the film gets made in a jiffy . It is praised in the preview for
its natural and realist treatment in the previews.
</div>
<div align="justify" style="line-height: 100%; margin-bottom: 0cm;">
<br /></div>
<div align="justify" style="line-height: 100%; margin-bottom: 0cm;">
In
the second half the attention shifts to the jury of the state awards
comprising of Menaka, Renji Panikkar, Vineeth, Ravindran and others.
Here we get to see the deliberations, fights, manipulations and such
things going on inside the jury and how deserving and meritorious
films get discarded for some undeserving and crass works. Here too
Balachandra Menon takes the events that have happened in the state
award juries in the last few years.
</div>
<div align="justify" style="line-height: 100%; margin-bottom: 0cm;">
<br /></div>
<br />
<div align="justify" style="line-height: 100%; margin-bottom: 0cm;">
The
treatment of this film is tacky to put it mildly it does not have
anything. That feels of some substance or having an emotional core
making us feel sorry for the director we knew as Balachandra Menon in
the past.</div>
<div align="justify" style="line-height: 100%; margin-bottom: 0cm;">
<br /></div>
<div align="justify" style="line-height: 100%; margin-bottom: 0cm;">
<b>As it appeared in <a href="http://www.rediff.com/movies/report/review-njan-samvidhanam-cheyyum-is-tacky/20150921.htm">Rediff</a>.</b> </div>
</div>
Paresh Palichahttp://www.blogger.com/profile/15521084555278491021noreply@blogger.com0tag:blogger.com,1999:blog-13612197.post-40083360398675603762015-09-23T21:28:00.002+05:302015-09-23T21:37:39.319+05:30Ennu Ninte Moideen<div dir="ltr" style="text-align: left;" trbidi="on">
<div align="justify" lang="en-US" style="line-height: 100%; margin-bottom: 0.18cm; margin-top: 0.18cm; orphans: 2; widows: 2;">
<span style="font-size: small;"><span style="font-family: Times New Roman, serif;"><span lang="en-GB">It
is believed that tragic love stories have more power to stay in the
memory than the successful ones where the lovers walk away into the
sunset with their hand in hand. Débutante director R S Vimal seems
to be aware of this fact so, he has made a love story inspired by
real life yet have ingredients that will make any director rub his
hands with glee. It is based in an era when let alone inter religious
marriages even talking to your spouse in front of elders was
considered a taboo. Now, imagine in such a scenario two rebellious
youngsters from different religions not only fall in love but are
even adamant to unite come what may.</span></span></span></div>
<div align="justify" style="line-height: 100%; margin-bottom: 0.18cm; margin-top: 0.18cm; orphans: 2; widows: 2;">
<br /></div>
<div align="justify" lang="en-US" style="line-height: 100%; margin-bottom: 0.18cm; margin-top: 0.18cm; orphans: 2; widows: 2;">
<span style="font-size: small;"><span style="font-family: Times New Roman, serif;"><span lang="en-GB"><i>Ennu
Ninte Moideen</i></span></span><span style="font-family: Times New Roman, serif;"><span lang="en-GB">
tells the story of Moideen (Prithviraj) and Kanchanamala (Parvathy),
who are family friends till the cupid’s arrow strikes. Moideen is a
zealous youth wearing socialist ideals on his sleeves preaching that
‘India is not Indira and Indira is not India’ while his father
(Sai Kumar) is a staunch Congressman with an unflinching loyalty
towards the Nehru-Gandhi family, which gives the director a chance to
have some comical interludes in the beginning.</span></span></span></div>
<div align="justify" style="line-height: 100%; margin-bottom: 0.18cm; margin-top: 0.18cm; orphans: 2; widows: 2;">
<br /></div>
<div align="justify" lang="en-US" style="line-height: 100%; margin-bottom: 0.18cm; margin-top: 0.18cm; orphans: 2; widows: 2;">
<span style="font-size: small;"><span style="font-family: Times New Roman, serif;"><span lang="en-GB">On
the other hand, Kanchanamala is shown to be leading a revolt against
hostel management for the disparity in the quality of food given to
the students according to their economic status.</span></span></span></div>
<div align="justify" style="line-height: 100%; margin-bottom: 0.18cm; margin-top: 0.18cm; orphans: 2; widows: 2;">
<br /></div>
<div align="justify" lang="en-US" style="line-height: 100%; margin-bottom: 0.18cm; margin-top: 0.18cm; orphans: 2; widows: 2;">
<span style="font-size: small;"><span style="font-family: Times New Roman, serif;"><span lang="en-GB">As
the story moves forwards the intensity of emotions and violence
increases making us ask where will all this take us? But, the lovers
keep the hope and humour alive in their communication (by whatever
means they can).</span></span></span></div>
<div align="justify" style="line-height: 100%; margin-bottom: 0.18cm; margin-top: 0.18cm; orphans: 2; widows: 2;">
<br /></div>
<div align="justify" lang="en-US" style="line-height: 100%; margin-bottom: 0.18cm; margin-top: 0.18cm; orphans: 2; widows: 2;">
<span style="font-size: small;"><span style="font-family: Times New Roman, serif;"><span lang="en-GB">We
see that these two lovers have provided ample fodder for the film
makers in the past or is the other way round where director Vimal got
influenced by love stories made in the last couple of decades and
incorporated them in his screenplay? We cannot be sure of that.</span></span></span></div>
<div align="justify" style="line-height: 100%; margin-bottom: 0.18cm; margin-top: 0.18cm; orphans: 2; widows: 2;">
<br /></div>
<div align="justify" lang="en-US" style="line-height: 100%; margin-bottom: 0.18cm; margin-top: 0.18cm; orphans: 2; widows: 2;">
<span style="font-size: small;"><span style="font-family: Times New Roman, serif;"><span lang="en-GB">He
has claimed that he did not take any cinematic liberties as this
story of the lovers in itself was very interesting that it did not
require any mending. But, some situations and dialogues mouthed by
the stars make it hard to believe the director’s claim maybe that
is why they say that fact is stranger than fiction.</span></span></span></div>
<div align="justify" style="line-height: 115%; margin-bottom: 0.35cm; orphans: 2; widows: 2;">
<br /></div>
<div align="justify" style="line-height: 115%; margin-bottom: 0.35cm; orphans: 2; widows: 2;">
<span style="font-family: Times New Roman, serif;"><span style="font-size: small;"><span lang="en-GB">Prithviraj
does succeed giving Moideen’s character a ‘larger than life’
aura yet displays vulnerability of a lost lover in his private
moments. It is difficult say if the character benefitted by the
presence of Prithviraj or was it the actor who gained by portraying
such a character.</span></span></span></div>
<div align="justify" style="line-height: 115%; margin-bottom: 0.35cm; orphans: 2; widows: 2;">
<span style="font-family: Times New Roman, serif;"><span style="font-size: small;"><span lang="en-GB">Parvathy
does not have to try very hard to make us believe that she the feisty
Kanchanamala, be it for her resolve to face the odds in her chosen
path or being the girl who is full of life in the beginning.</span></span></span></div>
<div align="justify" style="line-height: 115%; margin-bottom: 0.35cm; orphans: 2; widows: 2;">
<span style="font-family: Times New Roman, serif;"><span style="font-size: small;"><span lang="en-GB">Jomon
T John’s camerawork provides the gloomy ambience for the doomed
love story capturing the cloudy sky when the action is outdoors or
shooting indoors with pale lightings.</span></span></span></div>
<br />
<div align="left" lang="en-US" style="line-height: 100%; margin-bottom: 0.18cm; margin-top: 0.18cm; orphans: 2; widows: 2;">
<span style="font-size: 12pt;"><span style="font-family: Times New Roman, serif;">It
all make </span><span style="font-family: Times New Roman, serif;"><span lang="en-GB"><i>Ennu
Ninte Moideen</i></span></span><span style="font-family: Times New Roman, serif;"><span lang="en-GB">
worthwhile effort that we can savour.</span></span></span></div>
<div align="left" lang="en-US" style="line-height: 100%; margin-bottom: 0.18cm; margin-top: 0.18cm; orphans: 2; widows: 2;">
<span style="font-size: 12pt;"><span style="font-family: Times New Roman, serif;"><span lang="en-GB"><br /></span></span></span></div>
<div align="left" lang="en-US" style="margin-bottom: 0.18cm; margin-top: 0.18cm; orphans: 2; widows: 2;">
<span style="font-family: Times New Roman, serif;"><span lang="en-GB" style="line-height: 16px;"><b>As it appeared in <a href="http://www.rediff.com/movies/report/review-ennu-ninte-moideen-is-impressive/20150922.htm">Rediff</a>.</b></span></span></div>
</div>
Paresh Palichahttp://www.blogger.com/profile/15521084555278491021noreply@blogger.com1tag:blogger.com,1999:blog-13612197.post-44417124886611113012015-09-03T03:46:00.002+05:302015-09-03T03:46:31.449+05:30Kunjiramayanam<div dir="ltr" style="text-align: left;" trbidi="on">
<div style="-qt-block-indent: 0; margin-bottom: 0px; margin-left: 0px; margin-right: 0px; margin-top: 0px; text-indent: 0px;">
<!--StartFragment-->These days we see a lot of young blood being infused in malayalam cinema and it is trying to tweak the formula or to make a new grammar or narrative style that the audience will find novel or refreshing. The youngster Basil Joseph tries to do the same in his début feature film <span style="font-style: italic;">Kunjiramayanam . </span>He has cast the two progenies of actor Sreenivasan namely Vineeth and his brother Dhyan Sreenivasan. It tells the story of fictitious village called Desam. The citizens of this village are dumb and do not take much time to believe in any kind of superstition. </div>
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<br /></div>
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Kunjiraman [Vineeth Sreenivasan] and Lalu [Dhyan Sreenivasan ] are first cousins. Lalu is the son of Well Done Vasu [Mammukoya] who has made his fortune by working in the Gulf. Kunjiraman is his sister’s son, whose marriage is fixed with Vasu’s daughter Thankamani. But a small issue between the boys takes the proportion of a family feud and the marriage is called off. Kunjiraman takes off to Dubai after that. Lalu, who is the apple of Vasu’s eyes is a dimwitted fellow who is finding it difficult to even pass the tenth standard exam even after appearing for it many times.</div>
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<br /></div>
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We see that Kunjiraman’s marriage is fixed with the character played by Srinda. And at the time of engagement the bride to be takes a promise from kunjiraman that he won’t touch alcohol from now on. So, before returning to the call of duty he symbolically breaks a bottle of the brand of alcohol he had started drinking with. But after he has left for the Gulf it comes to light that his favourite drink has become jinxed nobody can bring it into the village. Thus this superstition spreads like wild fire and anyone daring to get it into the village has to face dire consequences. </div>
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<br /></div>
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The unfolding of these events takes a lot of time served with dollops of humour with actors like Aju Varghese, Neeraj Madhav and Deepak Parambol with Dhyan being at the forefront with the sub plots like Lalu’s numerous attempts to succeed in the tenth standard exams and he being under the wings of cut piece Kuttan (Aju Varghese) for learning to stitch garments and essential things in life. And, etching out the characters of cut piece Kuttan and Vasu does take some time.</div>
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<br /></div>
<div align="justify" style="-qt-block-indent: 0; margin-bottom: 0px; margin-left: 0px; margin-right: 0px; margin-top: 0px; text-indent: 0px;">
There are a few inside jokes and subtexts if we give it a thought like the mention of <span style="font-style: italic;">Oru Thundu Padam </span>in Biju Menon’s narration in the beginning, which is the title of a short film that director Basil Joseph had made a few years back. Now, coming to the subtexts, the siblings Vineeth and Dhyan seems to be making a statement for their father Sreenivasan in Malayalam cinema, who was always cast as a sidekick of a good looking hero and became the butt of the joke. Here Vineeth who resembles his father is made smarter, confident and more successful while the good looking Dhyan with his gym toned biceps is made a dimwitted person.</div>
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<br /></div>
<br />
<div align="justify">
These are the things that keep us interested in proceedings which tend to get repetitive once in a while in an effort to justice to a pantheon of characters. And, we can confidently say that this is the thing that makes <span style="font-style: italic;">Kunjiramayanam</span> a time pass film.<!--EndFragment--></div>
<div align="justify">
<br /></div>
<div align="justify">
<b>As it appeared in <a href="http://www.rediff.com/movies/report/review-kunjiramayanam-is-enjoyable-south/20150831.htm">Rediff</a>.</b></div>
</div>
Paresh Palichahttp://www.blogger.com/profile/15521084555278491021noreply@blogger.com0tag:blogger.com,1999:blog-13612197.post-79323945622609500332015-08-22T08:27:00.001+05:302015-08-22T08:27:14.198+05:30Loham<div dir="ltr" style="text-align: left;" trbidi="on">
<div align="justify" style="line-height: 100%; margin-bottom: 0cm;">
We
had seen a large haul of gold smuggled from the Gulf countries being
caught across the airports in Kerala, some time back. There were many
conspiracy theories doing rounds, stories of hapless carriers and the
names of big fishes doubted to be involved in this precarious
business were thrown around. All these things make good fodder for a
masala film. And, who better to do it than director Ranjith. So,
<i>Loham - The Yellow Metal</i>, written and directed by Ranjith with
Mohanlal in the lead carried the heavy burden of expectations being
an Onam release. But, sorrily it fails to deliver on those
expectations.</div>
<div align="justify" style="line-height: 100%; margin-bottom: 0cm;">
<br /></div>
<div align="justify" style="line-height: 100%; margin-bottom: 0cm;">
We
begin with the arrival of human remains of a young man in Karipur
airport, this man had died in an accident at a construction site in
Dubai. And, none other the local MLA, played by Hareesh Perady had
come to the airport to expedite the customs clearance of this body.
The back story of the young man portrayed by Musthafa with the
Malabar backdrop playing a significant role in it and the song <i>Kanaka
Mylanchi </i>that has topped the charts for the last few days
featuring here.</div>
<div align="justify" style="line-height: 100%; margin-bottom: 0cm;">
<br /></div>
<div align="justify" style="line-height: 100%; margin-bottom: 0cm;">
Next
we see Jayanthi Ramesh (Andrea Jeremiah) landing in Kochi. Here
Mohanlal enters as her cab driver Raju, he is talkative and bubbly to
the boot. But, she is the silent sort and it is obvious from her body
language that something serious is going on in her head. She has come
here to find the whereabouts of her husband Ramesh (Ashvin A.
Mathew), the customs officer who has gone missing after clearing the
dead body of the youth in the Karipur airport a few days back.</div>
<div align="justify" style="line-height: 100%; margin-bottom: 0cm;">
<br /></div>
<div align="justify" style="line-height: 100%; margin-bottom: 0cm;">
Numerous
other characters make an appearance as Jayanthi and Raju drive around
the city adding to the thickness and the mystery of the plot. It
feels as if the director is deliberately on the simmering point in
the first half relying on Mohanlal’s comic prowess and we sit
expectantly for the narrative to explode with vigour and wit. But, it
never comes to the boiling point and the excitement that was
anticipated never comes to the fore. Things just fizzle out without
providing us any real thrills.</div>
<div align="justify" style="line-height: 100%; margin-bottom: 0cm;">
<br /></div>
<div align="justify" style="line-height: 100%; margin-bottom: 0cm;">
As
we go along it is revealed that the coffin of the young man had 100
kilos of gold hidden in it, which has gone missing while the body was
delivered at his home. And, everyone around is after that without the
distinction of being a good guy or a bad guy. Then there many twist
and turns in this tale that are not original or interesting.</div>
<div align="justify" style="line-height: 100%; margin-bottom: 0cm;">
<br /></div>
<div align="justify" style="line-height: 100%; margin-bottom: 0cm;">
There
is an endless list of characters making an appearance in the frame
and a couple of them like Sasi Kalinga and Shankar Ramakrishnan do
not even contribute anything to the plot.</div>
<div align="justify" style="line-height: 100%; margin-bottom: 0cm;">
<br /></div>
<div align="justify" style="line-height: 100%; margin-bottom: 0cm;">
Others
like Renji Panicker who is becoming very active as an actor these
days appears as a member of Mohanlal’s gang is the only one who
shows some spark as an actor, all others in the ensemble cast seem to
be going through the motions as instructed.</div>
<div align="justify" style="line-height: 100%; margin-bottom: 0cm;">
<br /></div>
<br />
<div align="justify" style="line-height: 100%; margin-bottom: 0cm;">
After
testing this <i>Loham</i> we can only say that it lacks glitter and
lustre, and is not original at all.</div>
<div align="justify" style="line-height: 100%; margin-bottom: 0cm;">
<br /></div>
<div align="justify" style="line-height: 100%; margin-bottom: 0cm;">
<b>As it appeared in <a href="http://www.rediff.com/movies/review/review-loham-lacks-lustre/20150821.htm">Rediff</a>.</b></div>
</div>
Paresh Palichahttp://www.blogger.com/profile/15521084555278491021noreply@blogger.com0tag:blogger.com,1999:blog-13612197.post-91808684699496676072015-08-08T19:10:00.001+05:302015-08-08T19:10:22.281+05:30Review of Ayaal Njanalla<div dir="ltr" style="text-align: left;" trbidi="on">
<div class="western" style="line-height: 100%; margin-bottom: 0cm; orphans: 0; widows: 0;">
<div style="text-align: justify;">
<em class="western"><span style="font-family: Times New Roman, serif;"><span style="font-style: normal;">If
re-imagining or recycling an old theme can be called an
experimentation then </span></span></em><em class="western"><span style="font-family: Times New Roman, serif;">Ayaal
Njanalla</span></em><em class="western"><span style="font-family: Times New Roman, serif;"><span style="font-style: normal;">
can be termed as one of the best experiments in the recent times in
Malayalam cinema. We have seen lookalikes of superstars used by
directors to make spoofs or stories where the dupe of a superstar
using his looks to get rich quick or to get out dicey situation. But,
here Prakashan the lead character of film played by Fahadh Faasil, a
simpleton who had migrated to arid Kutchh from </span></span></em><em class="western"><span style="color: #3b3a39;"><span style="font-family: Georgia, serif;"><span style="font-size: 10pt;"><span style="font-style: normal;">Koyilandy</span></span></span></span></em><em class="western"><span style="font-family: Times New Roman, serif;"><span style="font-style: normal;">
some fifteen years back after failing in his tenth standard exams.
And, on a short trip to Bengaluru realises that he has uncanny
resemblance to an upcoming star Fahadh Faasil. This may be a rare
occasion where a star duping himself.</span></span></em></div>
</div>
<div class="western" style="line-height: 100%; margin-bottom: 0cm; orphans: 0; widows: 0;">
<div style="text-align: justify;">
<br /></div>
</div>
<div class="western" style="line-height: 100%; margin-bottom: 0cm; orphans: 0; widows: 0;">
<div style="text-align: justify;">
<em class="western"><span style="font-family: Times New Roman, serif;"><span style="font-style: normal;">To
begin with; we see Prakashan as formulaic hero of Malayalam films, a
simple person with a heart of gold, working hard to stay afloat in
the face of financial crisis. He is such a naive fellow who cannot
convey his feelings to his lady love. He works in a tyre repairing
shop run by his uncle. He does have big dreams of setting up Dhaba
there in the future.</span></span></em></div>
</div>
<div class="western" style="line-height: 100%; margin-bottom: 0cm; orphans: 0; widows: 0;">
<div style="text-align: justify;">
<br /></div>
</div>
<div class="western" style="line-height: 100%; margin-bottom: 0cm; orphans: 0; widows: 0;">
<div style="text-align: justify;">
<em class="western"><span style="font-family: Times New Roman, serif;"><span style="font-style: normal;">The
story by Ranjith helmed by actor turned director Vineeth Kumar does
have the novelty in the form of the atmospherics </span></span></em><em class="western"><span style="font-family: Times New Roman, serif;"><span style="font-style: normal;">o
f </span></span></em><em class="western"><span style="font-family: Times New Roman, serif;"><span style="font-style: normal;">Gujarat
and the way Prakashan looks. He is vulnerable and does not win the
kite flying challenge (his entry point into the story) as a typical
hero would.</span></span></em></div>
</div>
<div class="western" style="line-height: 100%; margin-bottom: 0cm; orphans: 0; widows: 0;">
<div style="text-align: justify;">
<br /></div>
</div>
<div class="western" style="line-height: 100%; margin-bottom: 0cm; orphans: 0; widows: 0;">
<div style="text-align: justify;">
<em class="western"><span style="font-family: Times New Roman, serif;"><span style="font-style: normal;">His
life goes into further tailspin when his uncle dies in a freak
accident and he has to make a short trip to Bengaluru. Prakashan has
come here to sell his share of ancestral property in his home town.
There is his school friend Arun (Jins Bhaskar) to help him. Apart
from using his connections of Malayalis in Bengaluru to help his
friend Arun also gives Prakashan a taste of urban life by taking him
for an exotic facial and fish pedicure, after that Arun takes him to
an upmarket shopping mall to get him a few new dresses, it in a way
changes Prakashan's life; here a couple of young girls mistake him
for being Fahadh Faasil and request him to pose with him for a
selfie. </span></span></em>
</div>
</div>
<div class="western" style="line-height: 100%; margin-bottom: 0cm; orphans: 0; widows: 0;">
<div style="text-align: justify;">
<br /></div>
</div>
<div class="western" style="line-height: 100%; margin-bottom: 0cm; orphans: 0; widows: 0;">
<div style="text-align: justify;">
<em class="western"><span style="font-family: Times New Roman, serif;"><span style="font-style: normal;">Till
now we had seen Prakashan in a full grown beard and head full of hair
and an angelic smile. Now, to cut the long story short the
circumstances make him pose as Fahadh Faasil with a clean shaven face
and receding hairline for a public function in a women's college,
which drags his life into further complications. </span></span></em>
</div>
</div>
<div class="western" style="line-height: 100%; margin-bottom: 0cm; orphans: 0; widows: 0;">
<div style="text-align: justify;">
<br /></div>
</div>
<div class="western" style="line-height: 100%; margin-bottom: 0cm; orphans: 0; widows: 0;">
<div style="text-align: justify;">
<em class="western"><span style="font-family: Times New Roman, serif;"><span style="font-style: normal;">There
is no denial that there are a few genuinely laughable moments, but on
thinking back the situation seems to be far fetched where stars even
keep a close watch in the cyberworld to stop people from robbing
their identities, here a fake person attends a public function with
hundreds of people there and gets out unscathed. The situation is
dragged further where Prakashan has to be Fahadh with peppering of
humour that is sprinkled by actors like, Sreekumar, Tini Tom, Noby
and others.</span></span></em></div>
</div>
<div class="western" style="line-height: 100%; margin-bottom: 0cm; orphans: 0; widows: 0;">
<div style="text-align: justify;">
<br /></div>
</div>
<div class="western" style="line-height: 100%; margin-bottom: 0cm; orphans: 0; widows: 0;">
<div style="text-align: justify;">
<em class="western"><span style="font-family: Times New Roman, serif;"><span style="font-style: normal;">The
resolution of all the problems faced by Prakashan is too simple to be
believable where the makers have tried to present a layered narrative
that goes beyond just being an ordinary comedy.</span></span></em></div>
</div>
<div class="western" style="line-height: 100%; margin-bottom: 0cm; orphans: 0; widows: 0;">
<div style="text-align: justify;">
<br /></div>
</div>
<div style="text-align: justify;">
<br /></div>
<div class="western" style="line-height: 100%; margin-bottom: 0cm; orphans: 0; widows: 0;">
<div style="text-align: justify;">
<em class="western"><span style="font-family: Times New Roman, serif;"><span style="font-style: normal;">So,
we can only suggest that you go and see </span></span></em><em class="western"><span style="font-family: Times New Roman, serif;">Ayaal
Njanalla</span></em><em class="western"><span style="font-family: Times New Roman, serif;"><span style="font-style: normal;">
without high expectations and come out happy.</span></span></em></div>
</div>
<div class="western" style="line-height: 100%; margin-bottom: 0cm; orphans: 0; widows: 0;">
<div style="text-align: justify;">
<em class="western"><span style="font-family: Times New Roman, serif;"><span style="font-style: normal;"><br /></span></span></em></div>
</div>
<div class="western" style="margin-bottom: 0cm; text-align: left;">
<div style="text-align: justify;">
<span class="western" style="line-height: 16px;"><span style="font-family: Times New Roman, serif;">As it appeared in <a href="http://www.rediff.com/movies/report/review-ayaal-njanalla-is-a-one-time-watch/20150803.htm">Rediff</a>.</span></span></div>
</div>
</div>
Paresh Palichahttp://www.blogger.com/profile/15521084555278491021noreply@blogger.com1tag:blogger.com,1999:blog-13612197.post-67719496890353396862015-07-20T21:43:00.001+05:302015-07-20T21:48:26.748+05:30Review of Love 24x7<div dir="ltr" style="text-align: left;" trbidi="on">
<div style="text-align: justify;">
In our films we have only that seen love happens, like two people getting attracted towards each other as if there was a magic or some divine intervention. This thing happens only to young people who are still students or young people who are on threshold of entering real life. The rest of the story will be about how they fulfill their destiny of being together for a lifetime after overcoming every hurdle presented by this world.</div>
<div style="text-align: justify;">
<br /></div>
<div style="text-align: justify;">
Writer director Sreebala K Menon attempts to do something different and natural in her first feature film Love 24x7 where two mature adults start liking each other and then discuss how to take their relationship forward, do they like each other enough to make a commitment they would like spend their life together?</div>
<div style="text-align: justify;">
<br /></div>
<div style="text-align: justify;">
The backdrop of this story is a television news channel where everyone is professionally committed but also knowing that their work isn't the ‘be all and end all’ in this world. The director presents the inner workings of a newsroom in a light hearted way. She weaves a love story into the narrative as seamlessly as possible. Roopesh Nambiar (Dileep) is the face of this channel, yet, he is very casual about it. When a new trainee Kabani (Nikhila Vimal) comes in, he rags her in a mild manner, then it goes on to become banter between the two and then a slow brewing romance. Still, this film does not become only the love story of the hero and the heroine, there are other things going on parallel to this. The entry of Dr. Sarayu (Suhasini) is one such thing. She is a friend of Roopesh's mother and his local guardian of sorts, she was widowed at a young age and had to bring up her son single handedly, he has migrated to the US and has a family of his own. She takes Kabani under her wings and the wisdom she provides to Kabani (without being preachy) is immense. Her early widowhood, leading a campanionless life and then the revival of romance of her youth with her college mate played by Sasikumar, becomes fodder for Kabani, and how it subtly changes her and makes her ask her mother if she wishes to have a companion.</div>
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<br /></div>
<div style="text-align: justify;">
All these things makes Love 24x7, a few notches above the typical films made targeting the box-office collections. Here even Dileep’s histrionic instincts of going over the top are curbed, yet he seems to be comfortable in the skin of Roopesh Nambiar. Nikhila Vimal seems to be worthy of the confidence reposed in her by the director.</div>
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<br /></div>
<div style="text-align: justify;">
Suhasini is her charming best throughout, only the guitar in her hand when she is singing <i>Chura Liya</i> feels to be too big for her comfort. Sasikumar’s aristocratic presence adds more depth to the proceedings. Sreenivasan is unduly subdued without his brand of self-deprecatory humour.</div>
<div style="text-align: justify;">
<br /></div>
<div style="text-align: justify;">
Verdict: Love 24x7 is a promising debut by Sreebala K Menon as a filmmaker and it makes us wait for her next outing.</div>
<div style="text-align: justify;">
<br /></div>
<div style="text-align: justify;">
<b>As it appeared in <a href="http://www.rediff.com/movies/report/review-love-24x7-is-impressive/20150720.htm">Rediff</a>.</b></div>
<div style="text-align: justify;">
<b>Read Sreebala's interview <a href="http://pareshcp.blogspot.in/2015/07/sreebala-k-menon-interview.html">here</a>.</b></div>
</div>
Paresh Palichahttp://www.blogger.com/profile/15521084555278491021noreply@blogger.com0tag:blogger.com,1999:blog-13612197.post-58964222821904364102015-07-17T01:10:00.001+05:302015-07-17T01:10:36.973+05:30Sreebala K Menon Interview<div dir="ltr" style="text-align: left;" trbidi="on">
<div align="justify" class="western" style="line-height: 100%; margin-bottom: 0cm; orphans: 0; widows: 0;">
<span style="color: black;"><span style="font-family: Liberation Serif, serif;"><span style="font-size: 12pt;"><span lang="en-GB">Eid
is one of the four festive seasons when Malayalam Cinema presents its
bounty for the viewers. This year too there are at least four big
films slated for release during this period and one of them is </span></span></span></span><span style="color: black;"><span style="font-family: Liberation Serif, serif;"><span style="font-size: 12pt;"><span lang="en-GB"><i>Love
24 X 7 </i></span></span></span></span><span style="color: black;"><span style="font-family: Liberation Serif, serif;"><span style="font-size: 12pt;"><span lang="en-GB">starring
Dileep and newcomer Nikhila Vimal. It is directed by Sreebala K
Menon who is a long time associate of Sathyan Anthikkad, she is also
known as a short story writer and a columnist. She has also made her
name as short film maker with ventures like </span></span></span></span><span style="color: black;"><span style="font-family: Liberation Serif, serif;"><span style="font-size: 12pt;"><span lang="en-GB"><i>Panthibojanam</i></span></span></span></span><span style="color: black;"><span style="font-family: Liberation Serif, serif;"><span style="font-size: 12pt;"><span lang="en-GB">
and </span></span></span></span><span style="color: black;"><span style="font-family: Liberation Serif, serif;"><span style="font-size: 12pt;"><span lang="en-GB"><i>Journey</i></span></span></span></span><span style="color: black;"><span style="font-family: Liberation Serif, serif;"><span style="font-size: 12pt;"><span lang="en-GB">
f</span></span></span></span><span style="color: black;"><span style="font-family: Liberation Serif, serif;"><span style="font-size: 12pt;"><span lang="en-GB"><i>rom
Darkness to Light, </i></span></span></span></span><span style="color: black;"><span style="font-family: Liberation Serif, serif;"><span style="font-size: 12pt;"><span lang="en-GB">which
won accolades at the first Abilityfest held in Chennai in 2005. Here
she talks about her first directorial venture, feelings about being a
female director and also about the rigours of being a film maker
making her miss the isolated process of writing. </span></span></span></span>
<br />
<span style="color: black;"><span style="font-family: Liberation Serif, serif;"><span style="font-size: 12pt;"><span lang="en-GB"><br /></span></span></span></span></div>
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<span style="color: black;"> </span>
</div>
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<span style="color: black;"><span style="font-family: Liberation Serif, serif;"><span style="font-size: 12pt;"><span lang="en-GB"><b>Tell
us something about the genesis of </b></span></span></span></span><span style="color: black;"><span style="font-family: Liberation Serif, serif;"><span style="font-size: 12pt;"><span lang="en-GB"><i><b>Love
24 X 7.</b></i></span></span></span></span></div>
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<br /></div>
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<span style="color: black;"><span style="font-family: Liberation Serif, serif;"><span style="font-size: 12pt;"><span lang="en-GB">I
had started it as a short story in 2013, then as I went forward with
it I felt the subject has the scope of being developed as a full
fledged script as I was also searching for a subject for a film but
it got delayed as the film industry went through a churn as the TV
channels became very strict with the satellite rights and the
industry virtually came to a standstill. </span></span></span></span>
</div>
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<br /></div>
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<span style="color: black;"><span style="font-family: Liberation Serif, serif;"><span style="font-size: 12pt;"><span lang="en-GB"><b>About
Dileep being the leading man as his trademark is lowbrow humour. </b></span></span></span></span>
</div>
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<br /></div>
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<span style="color: black;"><span style="font-family: Liberation Serif, serif;"><span style="font-size: 12pt;"><span lang="en-GB">I
feel that Dileep is a director's actor, a director can mould as he or
she wishes. If you see the spectrum of characters that he has handled
you can see that, on the one end there is </span></span></span></span><span style="color: black;"><span style="font-family: Liberation Serif, serif;"><span style="font-size: 12pt;"><span lang="en-GB"><i>Kathavasheshan</i></span></span></span></span><span style="color: black;"><span style="font-family: Liberation Serif, serif;"><span style="font-size: 12pt;"><span lang="en-GB">
(directed by T V Chandran) and at the other end there is </span></span></span></span><span style="color: black;"><span style="font-family: Liberation Serif, serif;"><span style="font-size: 12pt;"><span lang="en-GB"><i>Chanthupottu
</i></span></span></span></span><span style="color: black;"><span style="font-family: Liberation Serif, serif;"><span style="font-size: 12pt;"><span lang="en-GB">(directed
by Lal Jose). He is branded as a hero who excels in lowbrow humour
because those are the films that have been most successful. He did
take some time to decide to do this film or no but once he came on
board he even decided to be a partner in production.</span></span></span></span></div>
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<br /></div>
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<span style="color: black;"><span style="font-family: Liberation Serif, serif;"><span style="font-size: 12pt;"><span lang="en-GB"><b>About
the others in the cast.</b></span></span></span></span><span style="color: black;"><span style="font-family: Liberation Serif, serif;"><span style="font-size: 12pt;"><span lang="en-GB">
</span></span></span></span><span style="color: black;"><span style="font-family: Liberation Serif, serif;"><span style="font-size: 12pt;"><span lang="en-GB"><i>
</i></span></span></span></span>
</div>
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<br /></div>
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<span style="color: black;"><span style="font-family: Liberation Serif, serif;"><span style="font-size: 12pt;"><span lang="en-GB">The
story is about five characters and Sreenivasan was the first one to
read the script and had agreed to do the character I had in mind for
him. I had mailed the synopsis of the story to Suhasini Mam and then
went to meet her and narrated the script she had agreed on the spot.
I also went and met Sasikumar Sir and he also agreed to do the film.
It was very comforting for me that all this senior artists stayed
with me even after the inordinate delays in the making of the movie. </span></span></span></span>
</div>
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<br /></div>
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<span style="color: black;"><span style="font-family: Liberation Serif, serif;"><span style="font-size: 12pt;"><span lang="en-GB"><b>How
was the experience of directing them as most of them are directors
and writers?</b></span></span></span></span></div>
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<br /></div>
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<span style="color: black;"><span style="font-family: Liberation Serif, serif;"><span style="font-size: 12pt;"><span lang="en-GB">Most
of my cast was technically well versed beginning from Dileep, who
started his film career as an assistant director, Sreenivasan Sir,
Suhasini Mam, Sasikumar Sir to Siddharth Siva and Shankar
Ramakrishnan is an accomplished director. But, they never interfered
with my work, if there was anything that was discussed it was the
scene to be shot that day as we had discussed the script in detail
beforehand. In fact it was an advantage to have such people around
who understood the job, so, they gave their best to ease my pressure.</span></span></span></span></div>
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<br /></div>
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<span style="color: black;"><span style="font-family: Liberation Serif, serif;"><span style="font-size: 12pt;"><span lang="en-GB"><b>The
leading lady played by newcomer Nikhila Vimal.</b></span></span></span></span></div>
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<br /></div>
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<span style="color: black;"><span style="font-family: Liberation Serif, serif;"><span style="font-size: 12pt;"><span lang="en-GB">When
I was writing the story I felt a new face would be suitable for the
character. Nikhila had played the role of Jayaram's younger sister
in Sathyan Sir's </span></span></span></span><span style="color: black;"><span style="font-family: Liberation Serif, serif;"><span style="font-size: 12pt;"><span lang="en-GB"><i>Bhagyadevatha</i></span></span></span></span><span style="color: black;"><span style="font-family: Liberation Serif, serif;"><span style="font-size: 12pt;"><span lang="en-GB">
where I was an associate, she was a very young girl then studying in
eighth or ninth standard. She had also appeared in a programme about
Sr. Alphonsa on Shalom TV. We are facebook friends and she had
uploaded a few recent pictures there, I liked them and requested her
to send me a few more with different looks. I didn't feel that she
needs to be auditioned as I had liked what she had done in
</span></span></span></span><span style="color: black;"><span style="font-family: Liberation Serif, serif;"><span style="font-size: 12pt;"><span lang="en-GB"><i>Bhagyadevatha</i></span></span></span></span><span style="color: black;"><span style="font-family: Liberation Serif, serif;"><span style="font-size: 12pt;"><span lang="en-GB">.</span></span></span></span></div>
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<br /></div>
<div align="justify" class="western" style="line-height: 100%; margin-bottom: 0cm; orphans: 0; widows: 0;">
<span style="color: black;"><span style="font-family: Liberation Serif, serif;"><span style="font-size: 12pt;"><span lang="en-GB"><b>On
being a female director…</b></span></span></span></span></div>
<div align="justify" class="western" style="line-height: 100%; margin-bottom: 0cm;">
<br /></div>
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<span style="color: black;"><span style="font-family: Liberation Serif, serif;"><span style="font-size: 12pt;"><span lang="en-GB">I
think carrying your gender as publicity gimmick are over. Generally,
being female director does not make much difference. When I go for a
narration to an artist, he or she will see if the story is good or
bad and not whether it is narrated by a male or female. The same way
a lay viewer does not buy a ticket thinking that this film is
directed by a female, he just wants a feeling that his money was well
spent in the end. Yes, sometimes it does give a special feeling when
I introduce myself as a director.</span></span></span></span></div>
<div align="justify" class="western" style="line-height: 100%; margin-bottom: 0cm;">
<br /></div>
<div align="justify" class="western" style="line-height: 100%; margin-bottom: 0cm; orphans: 0; widows: 0;">
<span style="color: black;"><span style="font-family: Liberation Serif, serif;"><span style="font-size: 12pt;"><span lang="en-GB"><b>What
would you like to be known as, a writer or a director?</b></span></span></span></span></div>
<div align="justify" class="western" style="line-height: 100%; margin-bottom: 0cm;">
<br /></div>
<div align="justify" class="western" style="line-height: 100%; margin-bottom: 0cm; orphans: 0; widows: 0;">
<span style="color: black;"><span style="font-family: Liberation Serif, serif;"><span style="font-size: 12pt;"><span lang="en-GB">I
like to think myself as a writer. I came into films to learn
scriptwriting as there was no one outside to teach me. And, as I went
along I understood that scripting and direction go hand in hand. The
only I miss now is pure writing, there are lot of people depending on
you when you are directing a film, so, you cannot seek solitude and
peace when an idea strike you. There are lots of stories that have
gone unwritten because of this.</span></span></span></span></div>
<div align="justify" class="western" style="line-height: 100%; margin-bottom: 0cm;">
<br /></div>
<div align="justify" class="western" style="line-height: 100%; margin-bottom: 0cm; orphans: 0; widows: 0;">
<span style="color: black;"><span style="font-family: Liberation Serif, serif;"><span style="font-size: 12pt;"><span lang="en-GB"><b>Finally,
how was the experience of seeing something you had written transform
into a visual experience on the big screen?</b></span></span></span></span></div>
<div align="justify" class="western" style="line-height: 100%; margin-bottom: 0cm;">
<br /></div>
<div style="text-align: justify;">
</div>
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<span style="color: black;"><span style="font-family: Liberation Serif, serif;"><span style="font-size: 12pt;"><span lang="en-GB">It
was a totally new and marvellous experience for me. Till then I had
just seen something I had written in printed or book form. And,
seeing that the characters you'd conceived coming alive and uttering
the lines you'd written for them. Or the actor getting a totally
different meaning from what you had originally thought while writing
a seen is unbelievable and I am totally satisfied by it.</span></span></span></span><br />
<span style="color: black;"><span style="font-family: Liberation Serif, serif;"><span style="font-size: 12pt;"><span lang="en-GB"><br /></span></span></span></span>
<span style="color: black;"><span style="font-family: Liberation Serif, serif;"><span lang="en-GB">*The edited version as it appeared in <a href="http://www.rediff.com/movies/interview/dileep-is-a-directors-actor-south/20150714.htm">Rediff</a>. Felt something amiss there, so, posting the whole thing here.</span></span></span></div>
</div>
Paresh Palichahttp://www.blogger.com/profile/15521084555278491021noreply@blogger.com0tag:blogger.com,1999:blog-13612197.post-56599413742376750352015-07-07T07:51:00.004+05:302015-07-07T07:52:28.158+05:30Two short films<div dir="ltr" style="text-align: left;" trbidi="on">
<div dir="ltr" style="text-align: left;" trbidi="on">
<h1 class="yt watch-title-container" style="background: rgb(255, 255, 255); border: 0px; color: #222222; display: table-cell; font-family: Roboto, arial, sans-serif; font-size: 24px; font-weight: normal; margin: 0px 0px 13px; padding: 0px; vertical-align: top; width: 824px; word-wrap: break-word;">
<span class="watch-title " dir="ltr" id="eow-title" style="background: transparent; border: 0px; margin: 0px; padding: 0px;" title="Ramaniyechiyude Namathil (First Prize Winner) (Kappa TV SAI - S02E07 - Part 1)"><span style="font-size: 24px; font-weight: normal;">Last week I saw two short films; </span><span style="font-size: 23.9999980926514px; font-weight: normal;">eerie, dark and somewhat funny. Do have a look.</span><span style="font-size: 24px; font-weight: normal;"> </span><br /><br /><span style="font-size: 24px;">Ramaniyechiyude Namathil </span></span></h1>
<iframe allowfullscreen="" frameborder="0" height="315" src="https://www.youtube.com/embed/Cxvej4MzQII" width="560"></iframe><br />
<br />
<br />
Thank <a href="https://www.facebook.com/ajityoha?fref=ts">Ajit Yohannan</a> for sharing the above one.<br />
<br />
<span style="font-size: 24px;">Bloody Moustache</span></div>
<iframe allowfullscreen="" frameborder="0" height="315" src="https://www.youtube.com/embed/iP2OlFi-8mw" width="560"></iframe><br />
<br />
You can read more about the Bloody Moustache <a href="https://moifightclub.wordpress.com/2015/07/03/votd-prosit-roys-short-bloody-moustache/">here</a>.<br />
<br />
Enjoy!<br />
<br />
<br /></div>
Paresh Palichahttp://www.blogger.com/profile/15521084555278491021noreply@blogger.com1tag:blogger.com,1999:blog-13612197.post-23070359769737573372015-05-18T19:18:00.000+05:302015-05-18T19:18:58.773+05:30Review of Nee-Na<div dir="ltr" style="text-align: left;" trbidi="on">
<div align="justify" style="line-height: 100%; margin-bottom: 0cm;">
“Well,
some people are just weird,” the male protagonist of Lal Jose’s
new film <i>Nee-Na</i> utters these words shortly after we are into
the story. He may have said it in the spirit that empathising with
them without being judgemental will make the world a better place to
live or he may have said it out of selfishness as this statement was
about one of his supremely talented subordinate who is haughty to the
hilt and an alcohol abuser of A+ grade. And, the film goes on to show
the turmoil that his accommodative nature brings into his life.</div>
<div align="justify" style="line-height: 100%; margin-bottom: 0cm;">
<br />
</div>
<div align="justify" style="line-height: 100%; margin-bottom: 0cm;">
The
tagline of this film may say that it is a ‘tale of two women’,
but it feels that the hyphen (or the man between the two women) in
the title becomes as important as them by the end of this film. Neena
(Deepti Sati) and Nalini (Ann Augustine) are poles apart; one detests
norms and traditions like poison and the other adheres to them as if
they her lifeline. Between them the only common thing is the man they
both love; Vinay Panikkar (Vijay Babu). One is a normal housewife who
would not mind anything as long as her husband is physically faithful
to her, and, the other would go to any extent to charm her man.</div>
<div align="justify" style="line-height: 100%; margin-bottom: 0cm;">
<br />
</div>
<div align="justify" style="line-height: 100%; margin-bottom: 0cm;">
In
most of the films and TV serials we feel that this story would not be
happening if the characters would have spoken their minds out at the
right time, there are couple of instances when we feel that here too.
But, when we absorb the whole content of the film, these are just
minor glitches.</div>
<div align="justify" style="line-height: 100%; margin-bottom: 0cm;">
<br />
</div>
<div align="justify" style="line-height: 100%; margin-bottom: 0cm;">
Neena
is an alcoholic, this fact overshadows her brilliance as the creative
director of the Ad Agency she is working for. Vinay decides to
something about it when he becomes her boss. This decision somehow
makes his life go upside down. Neena begins to like him and does not
refrain from showing it. Thankfully, his wife Nalini is not insecure
and does not keep him on a leash. Though she extends an olive branch
of friendship to Neena and when she does not get it she just warns
her. Things never really get to boil. Sometime we doubt that Vinay is
playing along with the girl’s fantasy. But, when things become
unbearable, he lets her know that his priority is his wife and his
kid. So, he cannot go with her beyond friendship.</div>
<div align="justify" style="line-height: 100%; margin-bottom: 0cm;">
<br />
</div>
<div align="justify" style="line-height: 100%; margin-bottom: 0cm;">
As
expected, the rejection has devastating effect on Neena and she
attempts suicide. When the hospital contacts Vinay, he is informed
that his number was found under the title My Man in Neena’s phone.
So, he is assumed to be her husband and he does not try to clarify
the situation beyond a point even after reaching the hospital. The
doctor there suggests that she should be taken to a rehab centre for
de-addiction. It is a twenty two day programme where the patient
should be accompanied by the spouse or a parent. He comes to
understand that Neena’s dad is indisposed with jaundice so he calls
Nalini, she just tells him to think rationally and do what he feels
right.</div>
<div align="justify" style="line-height: 100%; margin-bottom: 0cm;">
<br />
</div>
<div align="justify" style="line-height: 100%; margin-bottom: 0cm;">
The
rest of the film goes on to elaborately show the de-addiction process
and Vinay himself is de-addicted of Neena’s obsessive love as she
comes out of her drunken stupor. In fact, Vinay himself goes through
the withdrawal symptoms along with Neena.</div>
<div align="justify" style="line-height: 100%; margin-bottom: 0cm;">
<br />
</div>
<br />
<div align="justify" style="line-height: 100%; margin-bottom: 0cm;">
A
few years ago director Ranjith made <i>Spirit</i> (2012) that showed
alcoholism as a social menace. With <i>Nee-Na</i> director Lal Jose
tries to analyse the impact of drinking on an individual and the
people around that individual, and he does it triumphantly.</div>
<div align="justify" style="line-height: 100%; margin-bottom: 0cm;">
<br /></div>
<div align="justify" style="margin-bottom: 0cm;">
<span style="line-height: 16px;">As it appeared in <a href="http://www.rediff.com/movies/report/review-nee-na-is-impressive-south/20150518.htm">Rediff</a>.</span></div>
</div>
Paresh Palichahttp://www.blogger.com/profile/15521084555278491021noreply@blogger.com1tag:blogger.com,1999:blog-13612197.post-86356667794356059152015-04-21T08:08:00.001+05:302015-04-21T08:08:38.536+05:30Margarita With A Straw<div dir="ltr" style="text-align: left;" trbidi="on">
<div style="margin: 0px; text-align: justify; text-indent: 0px;">
I’m biased to write a review of this film as such because I have known Malini Chib (the inspiration behind this film) for a long time and been her fan even before meeting her in person. She maybe the first person to broach the subject of sexual deprivation among the disabled people in India that too in the mainstream media. And, have read her autobiography <span style="font-style: italic;">One Little Finger</span> just a few months back.</div>
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<br /></div>
<div style="margin: 0px; text-align: justify; text-indent: 0px;">
All this made me wait for this film to hit the theatres with bated breath. But, what the film has isn’t her story per se but something really over the top. Here the story about a talented teenager named Laila (Kalki Koechlin), who composes music using her laptop and writes lyrics for her college band. She even goes to the sites that people using computer in the dead of the night are doubted to visit... She is in love with the lead singer of her band while being physically intimate with another wheelchair using person. And, when that wheelchair using person tries to put some sense in her head and tells what she has done to him, she calls him a name that arouse claps from a few members of the audience. We are all for flawed characters with shades of grey, even the ones with disability, but, isn’t this stretching it too far?</div>
<div style="margin: 0px; text-align: justify; text-indent: 0px;">
<br /></div>
<div style="margin: 0px; text-align: justify; text-indent: 0px;">
Her first heartbreak is treated with subtlety, just a few tears and she crying into her mother’s (Revathy at her stoic best) bosom; “Aai, he doesn’t love me”. </div>
<div style="margin: 0px; text-align: justify; text-indent: 0px;">
<br /></div>
<div style="margin: 0px; text-align: justify; text-indent: 0px;">
After that the action shifts to New York as Laila gets admission in NYU for a creative writing course. It is here while agitating against the police atrocities towards the African-American people she bumps into Khanum (Sayani Gupta) a Paki-Bangla cross breed who becomes her girlfriend in a while. Who said a film dealing with the sexual curiosity of a disabled girl can’t be politically correct, a lesbian (or gay as Laila calls her) of Indian origin would have been a downer. The next best option was to make her a Paki or even better a Paki-Bangla cross breed.</div>
<div style="margin: 0px; text-align: justify; text-indent: 0px;">
<br /></div>
<div style="margin: 0px; text-align: justify; text-indent: 0px;">
Same sex relationships are often used to thicken the plot in the stories about disability as there are lots of things running parallel in both of them. They both are marginalised and fighting the battle to be in the mainstream of the society. This point is proven when Laila retorts “you never believed it when the people said it when I was born”, when her mother said that her relationship with Khanum wasn’t normal. It can also be used as a manipulative device to hook the urbanised or western audience like here Laila asks Khanum when did she realise she was a ‘gay’, Khanum says fourteen and goes on to describe how violently her mother reacted when she ‘came out’ to her. She goes on narrate that she was even taken to doctors and psychologists to find a cure as if her sexual orientation was a malady. In Laila says it is wonderful to know who she really is and she is happy to be with Khanum. But, at the same time it is scary too. We as viewers implicitly know why such a piece is set up in the story.</div>
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<br /></div>
<div style="margin: 0px; text-align: justify; text-indent: 0px;">
That is not all, Laila even seduces her cute classmate (or did it happen in the spur of the moment is a million dollar question) who had volunteered to help her as a writer. And, her justification to Khanum about this after a long while was “he was ready for it even after seeing me”. Whatever it means...</div>
<div style="margin: 0px; text-align: justify; text-indent: 0px;">
<br /></div>
<br />
<div style="text-align: justify;">
Unfulfilled dreams and heartbreaks are part and parcel of growing up or of life as a whole and there would trouble ahead if one develops a fiendish attitude towards the things missed. Hope Laila gets into the process of learning that soon.<!--EndFragment--></div>
</div>
Paresh Palichahttp://www.blogger.com/profile/15521084555278491021noreply@blogger.com4tag:blogger.com,1999:blog-13612197.post-75796682252551210572014-10-07T21:30:00.000+05:302014-10-07T21:30:21.018+05:30Review of Tamaar Padaar<div dir="ltr" style="text-align: left;" trbidi="on">
<div align="justify" class="western" style="line-height: 100%; margin-bottom: 0cm;">
<em><span style="font-size: small;"><span style="font-style: normal;"><span style="font-weight: normal;">The
fact that Malayalam cinema is on the path of revival and the audience
being receptive to some subjects that are off the beaten track can
prove to be harmful to a few filmmakers as they forget to draw the
line between something that is experimental and something that is
digestible for the common viewer to a certain extent (we know that
every film cannot be made to cater to the lower common denominator
among the viewers). Director Dileesh Nair runs that risk in his first
directorial venture </span></span></span></em><em><span style="font-size: small;"><span style="font-weight: normal;">Tamaar
Padaar</span></span></em><em><span style="font-size: small;"><span style="font-style: normal;"><span style="font-weight: normal;">
that somehow becomes overly experimental at the risk of alienating
the audience.</span></span></span></em></div>
<div align="justify" class="western" style="line-height: 100%; margin-bottom: 0cm;">
<br />
</div>
<div align="justify" class="western" style="line-height: 100%; margin-bottom: 0cm;">
<em><span style="font-size: small;"><span style="font-style: normal;"><span style="font-weight: normal;"> The
story of two street performers played by Baburaj and </span></span></span></em><span style="font-variant: normal;"><span style="color: black;"><span style="font-size: small;"><span style="font-style: normal;"><span style="font-weight: normal;">Chemban
Vinod Jose looks charming initially as it makes two non lead actors
the centre of the story. Vinod even gets a typical romantic song
while wooing his girl Valsamma (Srinda Ashab). Their tale is narrated
by a voiceover that stays till the end. The director employs a
narrator to move the story forward instead of characters themselves
doing that. This technique may have been helpful for the director to
make his statements (political or otherwise) instead of just making
the story flow.</span></span></span></span></span></div>
<div align="justify" class="western" style="line-height: 100%; margin-bottom: 0cm;">
<br />
</div>
<div align="justify" class="western" style="font-style: normal; font-variant: normal; font-weight: normal; line-height: 100%; margin-bottom: 0cm;">
<span style="font-size: small;"> As far as the story goes, it
is not as simple as it looks, Jumper Thambi (Baburaj), who exists in
this world without a proof of his identity. He has a small family
tucked away across the border in Tamil Nadu. He earns his food and
drink by performing his circus act on the roads in Kerala.</span></div>
<div align="justify" class="western" style="line-height: 100%; margin-bottom: 0cm;">
<br />
</div>
<div align="justify" class="western" style="line-height: 100%; margin-bottom: 0cm;">
<br />
</div>
<div align="justify" class="western" style="font-style: normal; font-variant: normal; font-weight: normal; line-height: 100%; margin-bottom: 0cm;">
<span style="font-size: small;"> On the other hand, we do not
get a detailed character Tubelight Mani (Chemban Vinod), we just know
that he is a simpleton who falls for a streetwalker Valsamma, he is
so simple that he does not understand the colloquial term for her
profession in an effort to discourage him from following her.</span></div>
<div align="justify" class="western" style="line-height: 100%; margin-bottom: 0cm;">
<br />
</div>
<div align="justify" class="western" style="line-height: 100%; margin-bottom: 0cm;">
<span style="font-variant: normal;"><span style="color: black;"><span style="font-size: small;"><span style="font-style: normal;"><span style="font-weight: normal;"> The
narrative goes into total spin and becomes the story of ACP Pouran
(Prithviraj), the name signifying common citizen, he was born to a
policeman named Purushan and his mother was named Sthree. He is being
shunted from being an ACP to being a jailer and at last in the IB. It
is here that he arrests the two street performers doubting them to be
terrorists who get Death Sentence in a jiffy and then realising his
mistake, like every good hearted policeman in the films fights the
system to free them.</span></span></span></span></span></div>
<div align="justify" class="western" style="line-height: 100%; margin-bottom: 0cm;">
<br />
</div>
<div align="justify" class="western" style="line-height: 100%; margin-bottom: 0cm;">
<span style="font-variant: normal;"><span style="color: black;"><span style="font-size: small;"><span style="font-style: normal;"><span style="font-weight: normal;"> This
film feels more like a notebook containing the thoughts of the
director read aloud by the narrator. So, once we hear the Home
Minister of the State explaining to Pouran that America will be
pleased if the Death Sentences of the terrorists were carried out.
Then there is a scene where the two performers doing an act together
in solidarity with empowerment of women, end almost up in same-sex
copulation (so much for subtle symbolism). That is not all; here the
director even explains what is done in a typical action sequence by
dissecting it in slow motion with a commentary of what is happening
before showing it again in normal speed. </span></span></span></span></span>
</div>
<div align="justify" class="western" style="line-height: 100%; margin-bottom: 0cm;">
<br />
</div>
<div align="justify" class="western" style="line-height: 100%; margin-bottom: 0cm;">
<span style="font-variant: normal;"><span style="color: black;"><span style="font-size: small;"><span style="font-style: normal;"><span style="font-weight: normal;"> The
writing takes its toll on the performance of the lead actors, Baburaj
who is always presented as no-hold-bar in comic situations feels
stifled hear because somewhere inside him he may be feeling that he
is doing something very serious and important. Chemban Vinod on the
other hand brings softness into his work and does not go over the top
as it may be expected of him in such scenes. The ultimate winner in
this film as far as histrionic capabilities go as she treads on a
very thin line between her character looking vulgar or being innocent
and charming. Prithviraj gets the wrong end of the stick as he has
been burdened with being a comic cop with a peculiar
Thiruvananthapuram accent and nothin else to fall on. </span></span></span></span></span>
</div>
<div align="justify" class="western" style="line-height: 100%; margin-bottom: 0cm;">
<br />
</div>
<br />
<div align="justify" class="western" style="line-height: 100%; margin-bottom: 0cm;">
<span style="color: black;"><span style="font-size: 12pt;"> It
all sums up to making </span></span><em><span style="color: black;"><span style="font-size: 12pt;">Tamaar
Padaar </span></span></em><em><span style="color: black;"><span style="font-size: 12pt;"><span style="font-style: normal;">into
a below average hardly watchable film.</span></span></span></em></div>
<div align="justify" class="western" style="line-height: 100%; margin-bottom: 0cm;">
<em><span style="color: black;"><span style="font-size: 12pt;"><span style="font-style: normal;"><br /></span></span></span></em></div>
<div align="justify" class="western" style="margin-bottom: 0cm;">
<span style="line-height: 16px;">An edited version appears <a href="http://www.rediff.com/movies/report/review-prithvirajs-tamaar-padaar-disappoints/20141006.htm">here</a>.</span></div>
<div align="justify" class="western" style="margin-bottom: 0cm; text-align: left;">
<br /></div>
</div>
Paresh Palichahttp://www.blogger.com/profile/15521084555278491021noreply@blogger.com0tag:blogger.com,1999:blog-13612197.post-34571811642106929722014-03-12T17:43:00.000+05:302014-03-12T17:49:33.151+05:30Organised Medical Profession and a Few Loose Cannons<div dir="ltr" style="text-align: left;" trbidi="on">
<div style="-qt-block-indent: 0; margin-bottom: 0px; margin-left: 0px; margin-right: 0px; margin-top: 0px; text-indent: 0px;">
<div style="text-align: justify;">
<span style="font-size: large;">It is sometimes funny or even weird the way two films connect in your head. Recently while reading the script of <a href="http://en.wikipedia.org/wiki/Dallas_Buyers_Club">Dallas Buyers Club</a> my mind kept going back to <a href="http://en.wikipedia.org/wiki/You_Don't_Know_Jack_(film)">You Don’t Know Jack</a>, a “made for the TV” film with Al Pacino and Susan Sarandon in it that I'd seen a few months back. On the surface there is no connection between the two films, apart from the fact that they are stories inspired by real people.</span></div>
</div>
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<div style="text-align: justify;">
<span style="font-size: large;"><br /></span></div>
</div>
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<div style="text-align: justify;">
<a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEgQHUfzDnH31yA6xrBRttPIo6nG_2UArbZHnF_BROnTyQhAaxJEyNUB7oK9fg7U0NPzxZFmWEpwsVZGneYXFswwlc0z7epJ_mRxsqB2i0wZIA2VI0WbGEbUDA0BagMyKWQmUBhf/s1600/dbf.jpg" imageanchor="1" style="clear: left; float: left; margin-bottom: 1em; margin-right: 1em; text-align: justify;"><span style="font-size: large;"><img border="0" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEgQHUfzDnH31yA6xrBRttPIo6nG_2UArbZHnF_BROnTyQhAaxJEyNUB7oK9fg7U0NPzxZFmWEpwsVZGneYXFswwlc0z7epJ_mRxsqB2i0wZIA2VI0WbGEbUDA0BagMyKWQmUBhf/s1600/dbf.jpg" height="200" width="134" /></span></a><span style="font-size: large;">While Dallas Buyers Club is about Ron Woodroof, an AIDS patient who smuggles medicines that </span></div>
<div style="text-align: justify;">
<span style="font-size: large;">helped AIDS patients but weren’t approved by the FDA in the USA. There is a lot of social subtext; of how in the beginning there was a misconception that only gay people got AIDS and how Woodroof in spite of being straight gets it. The transformation of his character from being someone selfish who is trying to stretch his life beyond the thirty days that the doctors had given him, to a person who seeks larger good of people with his actions.</span></div>
</div>
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<div style="text-align: justify;">
<span style="font-size: large;"><br /></span></div>
</div>
<div style="-qt-block-indent: 0; margin-bottom: 0px; margin-left: 0px; margin-right: 0px; margin-top: 0px; text-indent: 0px;">
<a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEj5moKFEl9fuLs-GCZdryzqwH1acRyDrRn-n853xODbN37kFP9LQAAnPF1RvY9EF_25zw6fUbfoyoKAtbfj37FSt6npw8h0LfYsWjbxpviva8M2QP7s_i0RE1UYKqsNSIiU8fAQ/s1600/You_Don't_Know_Jack.jpg" imageanchor="1" style="clear: right; float: right; margin-bottom: 1em; margin-left: 1em; text-align: justify;"><span style="font-size: large;"><img border="0" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEj5moKFEl9fuLs-GCZdryzqwH1acRyDrRn-n853xODbN37kFP9LQAAnPF1RvY9EF_25zw6fUbfoyoKAtbfj37FSt6npw8h0LfYsWjbxpviva8M2QP7s_i0RE1UYKqsNSIiU8fAQ/s1600/You_Don't_Know_Jack.jpg" height="200" width="134" /></span></a><br />
<div style="text-align: justify;">
<span style="font-size: large;">You Don’t Know Jack on the other hand is about Dr. Jack Kevorkian, a </span></div>
<div style="text-align: justify;">
<span style="font-size: large;">pathologist and an advocate of physician-assisted suicide and voluntary euthanasia. He fights for right of his patients to die with dignity. Call it a dichotomy or anything else, he chooses Gandhian way of protesting when he is arrested for his actions. First, refuses to pay the bond for his bail and then goes on hunger strike in jail to make his protest heard.</span></div>
</div>
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<div style="text-align: justify;">
<span style="font-size: large;"><br /></span></div>
</div>
<div style="-qt-block-indent: 0; margin-bottom: 0px; margin-left: 0px; margin-right: 0px; margin-top: 0px; text-indent: 0px;">
<div style="text-align: justify;">
<span style="font-size: large;">Basically, both Ron and Jack take on the Medical Bureaucracy for what they feel is right. </span></div>
</div>
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<div style="text-align: justify;">
<span style="font-size: large;"><br /></span></div>
</div>
<div style="text-align: justify;">
<span style="font-size: large;">In India I can only of <a href="http://en.wikipedia.org/wiki/Ek_Doctor_Ki_Maut">Ek Doctor Ki Maut</a> with Pankaj Kapur in the lead in this genre of films. Please let me know if any other film made on same lines.</span><!--EndFragment--></div>
</div>
Paresh Palichahttp://www.blogger.com/profile/15521084555278491021noreply@blogger.com2tag:blogger.com,1999:blog-13612197.post-22532816482880440142013-12-25T17:16:00.001+05:302013-12-25T17:16:07.242+05:30Heard At Last<div dir="ltr" style="text-align: left;" trbidi="on">
<div style="text-align: justify;">
I saw the Malayalam short film <a href="http://geetumohandas.com/film_making1.html">Kelkunnundo? (Are You Listening?)</a> by <a href="http://geetumohandas.com/">Geetu Mohan Das</a>. It is the fulfilment of a long cherished wish, having heard and read a lot about this film since the time it was made some four years back.<br />
<br />
It is a story of a little blind girl who lives by coalescing the world inside her head and the world outside. Yes, it does helps to have a world inside your head if you’re stifled by a disability, so, if you feel you are ignored in the real world, you can be happy inside your head. The only thing you’ve to be careful about is that you don’t end up with schizophrenia (pun intended). I remember being a cricketer to a pilot flying my own plane sitting in a corner (where there was least chance of me getting hurt), while other kids were busy playing.<br />
<br />
<iframe allowfullscreen="" frameborder="0" height="378" mozallowfullscreen="" src="//player.vimeo.com/video/23585855" webkitallowfullscreen="" width="900"></iframe><br />
<br />
The sound of this video is on the lower side. So, it would be better if you download it and play it using VLC Player with high volume.<br />
<br />
PS: I’d messaged Geeta when the news of the <a href="http://geetumohandas.com/film_making.html">Liar’s Dice</a> making it to the competitive section of the <a href="http://www.sundance.org/festival/">Sundance film festival</a> had started trickling in saying that I’d like to see it if there was any preview show in Kochi and even Kelkunnundo? In her reply she mentioned that Kelkunnundo? is available online.</div>
</div>
Paresh Palichahttp://www.blogger.com/profile/15521084555278491021noreply@blogger.com1tag:blogger.com,1999:blog-13612197.post-27528484246013313802013-12-01T12:28:00.000+05:302013-12-01T12:28:07.142+05:30Disabling Imagery<div dir="ltr" style="text-align: left;" trbidi="on">
I had wrote this essay ages back for the British Film Institute's website about the representation of disability in Bollywood. The weblink <span style="font-family: Arial, sans-serif; font-size: medium;">www.bfi.org.uk/disablingimagery</span> of this has gone missing, so, I'm posting it here:<br />
<br />
<div align="JUSTIFY" class="western" style="background: #ffffff; margin-bottom: 0cm; text-indent: 1.27cm;">
“<i>Movies are so rarely great art, that if we cannot appreciate
great trash, we have very little reason to be interested in them”.</i></div>
<div align="RIGHT" class="western" style="background: #ffffff; margin-bottom: 0.49cm; margin-top: 0.49cm; text-indent: 1.27cm;">
Pauline Kael</div>
<div align="JUSTIFY" class="western" style="background: #ffffff; margin-bottom: 0.49cm; margin-top: 0.49cm;">
This somewhat acerbic thought of long time film reviewer with
the New Yorker, stands true for most - probably every film industry
in the world, and specifically for the Hindi film industry or
Bollywood as it is popularly called; which is famous for churning out
trite formulaic stuff year after year. So, what you get at the end,
is hundred odd variations of a couple of storylines with the staple
Masala (i.e. ingredients) to satisfy the taste of the average film
buff, like - five songs, three fight sequences, a couple of
melodramatic emotional scenes that can force open the floodgates of
your tear ducts and two comical interludes, which may sometime border
on plain buffoonery by a couple of sidekicks. This has been passed on
generation to generation, from time immemorial.</div>
<div align="JUSTIFY" class="western" style="background: #ffffff; margin-bottom: 0.49cm; margin-top: 0.49cm; text-indent: 1.27cm;">
In the given scenario, it is really an onerous task to analyze the
representation of disability in Hindi Cinema. Here, Bollywood proves
the adage that ‘Films are merely a reflection of the society’ to
be true. Since the disabled lot are marginalised in the Indian
society, the same is reflected in Hindi films. So what you see is a
fleeting moment where a crippled beggar extends his begging bowl into
the window of a flashy imported car, or our good hearted protagonist
helping a visually impaired person cross the busy city road and in
return getting heart felt blessings from the less fortunate.</div>
<div align="JUSTIFY" class="western" style="background: #ffffff; margin-bottom: 0.49cm; margin-top: 0.49cm; text-indent: 1.27cm;">
If we ponder over the films in the history of Hindi Cinema, where the
disabled characters have got some decent footage (length of role in
Bollywood parlance) or where they have got anything to do which is of
consequence; we may find, not more than what we can count on our
fingers and toes put together.</div>
<div align="JUSTIFY" class="western" style="background: #ffffff; margin-bottom: 0.49cm; margin-top: 0.49cm; text-indent: 1.27cm;">
Initially, directors resorted to showing physical deformity as
a symbolic representation of negative traits in a character. So, in
agrarian times of black and white films, one would find the lecherous
land owner/money lender with an awkward gait or deformity in any
other part of the body. As time passed by, the villain or character
with negative traits became physically subtler. Now he/she comes with
cerebral traits like paranoia or psychosis. Some films have also used
disability to evoke hilarity, like a stammering sidekick or a lame
supporting actor.</div>
<div align="JUSTIFY" class="western" style="background: #ffffff; margin-bottom: 0.49cm; margin-top: 0.49cm; text-indent: 1.27cm;">
On the other hand directors like showman Raj Kapoor and Manoj Kumar
have taken physical deformity to the other extreme. One still vividly
remembers bald David who is shown using a crutch in Raj Kapoor’s
<i>‘Boot Polish’</i> (a black and white film released in the
early 50’s propagating the Utopian dream of post-independence
India) singing to his adopted street urchins - <i>‘Nanhe Munne
Bache Teri Muthi Me Kya Hai?’</i> (Little children what are you
holding in your fists?); and the children reply by singing <i>‘Muthi
Me Hai Taqdeer Humari/Humne Kismet Ko Bas Me Kiya Hai’</i> (We are
holding our destiny in our fists /we have taken our fate under
control). And, who can forget the character of the ‘Good Samaritan’
with an amputated leg, played by Pran in Manoj Kumar’s <i>‘Upkaar’</i>
(Favour) released in late 60’s.The impact of the character on the
audience was not due to any intrinsic qualities, but because of the
shock value. This was probably the first time that Pran was
portraying an out and out positive role in his long film career.
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The first real attempt to make a film with disabled characters in a
central role was by Gulzar in the early 70’s with <i>‘Koshish’</i>
(Effort) which showed the life of a speech and hearing impaired
couple played by Sanjeev Kumar and Jaya Bhachchan. In <i>‘Sparsh’</i>
(Touch) Naseerudin Shah plays the part of a visually impaired
principal of a special school for blind children, who falls in love
with a widowed volunteer (played by Shabana Azmi) who comes to serve
in the school to fill the vacuum in her life after the death of her
husband. Made by a female director Sai Paranjpe, <i>‘Sparsh’</i>
was the most sincere attempt to tell both sides of the story with a
rare unsentimental equilibrium, dealing with the complexes embedded
in the minds of both the characters. The early nineties saw the
release of the most hyped film about the disabled: <i>‘Khamoshi-The
Musical’</i> (Silence) directed by Sanjay Bhansali, which dealt
with the trauma of a deaf - mute couple who find it difficult to come
to terms with the personal aspirations of their daughter who is the
pivot of their life. Though this film failed to deliver what it had
promised, it is still remembered for the superb acting by the three
main actors - Nana Pateker, Seema Biswas and Manisha Koirala.</div>
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In fact there are numerous other films that reinforce the stereotypes
about disability - from ‘Super Crips’ to wallowing,
philosophising invalids.</div>
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The liberalisation of the Indian economy over the last decade has
seen the emergence of niche films in what is called ‘Hinglish’
shown in multiplexes in the metros, catering mainly to the urban
westernized audience. The mainstay of these films is either spoofing
the hypocrisy entrenched in traditional lifestyle or showing the
angst of people marginalised because of their sexual orientation. So,
we can hope that one day one of these niche filmmakers will find
interesting stories from other groups of marginalised people such as
the disabled.</div>
</div>
Paresh Palichahttp://www.blogger.com/profile/15521084555278491021noreply@blogger.com1tag:blogger.com,1999:blog-13612197.post-40333843709976961582013-06-09T13:51:00.001+05:302013-09-26T04:18:07.165+05:30The Untitled Kartik Krishnan Project<div dir="ltr" style="text-align: left;" trbidi="on">
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The term conflict of interest is being tossed around a lot in the media these days, and I too am grappling with it in my own small way after deciding to write about The Untitled Kartik Krishnan Project, a film with a title eponymous to my friend’s name and he himself being the leading man in it. That was not the only problem; I virtually knew everything about the film from reading and hearing a couple of behind the scene stories. So, after a few false starts in writing a formal review I altogether dropped the idea of writing about the film. Then it suddenly dawned on me that this is my blog so why bother about formality and who in the hell cares about conflict of interest.</div>
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The film directed by independent filmmaker Srinivas Sunderrajan, it is supposedly the first mumble core film to be made in India.</div>
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Here we get a Charlie Kaufman-ish feel with the leading man playing himself and the line between the real and fiction blurs, Kartik who works for an IT MNC and is passionate about films dying to make his first short film based on his own script, for this he meets director Srinivas Sunderrajan (Vishwesh K), who has recently met Kartik's idol Quentin Tarantino and posted his experience on a blog.</div>
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What we get out of this film is that it looks at experimental nature of independent filmmaking (which itself has become a formula of sorts) in a tongue-in-cheek manner with terms like 'larger than life', 'larger than logic' and 'surrealism' thrown in ample doses. In addition, it also looks at the limitations in guerilla filmmaking and the obstacles one has to surmount for ones project to see the light of the day.</div>
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Now, after three of making it Srinivas has released it online:</div>
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<iframe allowfullscreen="" frameborder="0" height="281" mozallowfullscreen="" src="http://player.vimeo.com/video/66136951" webkitallowfullscreen="" width="500"></iframe> <a href="http://vimeo.com/66136951">The Untitled Kartik Krishnan Project (Full Movie)</a> from <a href="http://vimeo.com/enterguerrilla">Enter Guerrilla</a> on <a href="http://vimeo.com/">Vimeo</a>.</div>
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So, see, enjoy and encourage!</div>
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Paresh Palichahttp://www.blogger.com/profile/15521084555278491021noreply@blogger.com0tag:blogger.com,1999:blog-13612197.post-52123926746631935252012-09-21T05:39:00.000+05:302012-09-21T05:39:05.015+05:30Age and wisdom: residue of a review – a strange connection between Chattakari and Run Baby Run<div dir="ltr" style="text-align: left;" trbidi="on">
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It happens sometimes that our brain takes on a journey of its own while watching a movie. Or is it my brain only that is wired differently?</div>
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The latest of such incidence happened while watching <a href="http://www.rediff.com/movies/review/south-review-chattakari-lacks-emotional-quotient/20120914.htm"><i>Chattakari</i></a>, it took me back to <a href="http://www.rediff.com/movies/report/south-review-run-baby-run-depends-on-mohanlal/20120830.htm"><i>Run Baby Run</i></a>, which I'd watched a couple of weeks earlier.</div>
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It so happened that sitting in the theatre watching <i>Chattakari</i>, the statutory warning about the harms of smoking and drinking popping up every other minute was annoying me and at the end of this <a href="http://www.youtube.com/watch?v=jelKb8VsLq0&feature=related">song</a> Hemanth and Shamna begin to get cosy under a blanket, and I seriously thought that now a warning about the dangers of pre-marital or under-age sex would pop up. But, nothing like that happened.</div>
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<iframe allowfullscreen="allowfullscreen" frameborder="0" height="315" src="http://www.youtube.com/embed/jelKb8VsLq0" width="420"></iframe></div>
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This is when Mohanlal came into my head, he was in a similar situation with Amala Paul at the end of this <a href="http://www.youtube.com/watch?v=jAi0jG_b9P0">song</a> in <i>Run Baby Run</i>. But, he was wise enough to jump out saying that this won't be right.</div>
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<iframe allowfullscreen="allowfullscreen" frameborder="0" height="315" src="http://www.youtube.com/embed/jAi0jG_b9P0" width="560"></iframe></div>
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I spent some time thinking about writing about this coincidence in my review of <i>Chattakari</i>, but, couldn't articulate it in a way to fit in there. So, just kept this line <i> It makes one wonder why there wasn't any warning about the dangers of pre-marital sex when the lead pair hops into bed!</i>.</div>
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In fact, Mohanlal had handled a similar situation in <a href="http://en.wikipedia.org/wiki/Maya_Mayuram"><i>Mayamayooram</i></a>, where he tells Revathy to go home as the drink had started showing effect on him and he would lose control.</div>
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Paresh Palichahttp://www.blogger.com/profile/15521084555278491021noreply@blogger.com3tag:blogger.com,1999:blog-13612197.post-85582712521116617622012-05-13T21:30:00.000+05:302012-05-13T21:30:46.083+05:30Interview with director Arun Kumar Aravind<div dir="ltr" style="text-align: left;" trbidi="on">
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<span class="Apple-style-span" style="color: #3b3a39; font-family: 'Nimbus Roman No9 L', 'Times New Roman', serif;">I'm excited as I'll be seeing my name in the byline of a newspaper tomorrow morning after a long time. I'd submitted this <a href="http://www.thehindu.com/arts/cinema/article3412246.ece">interview</a> a while back. But, it got delayed due to Newspaper Agents Strike.</span></div>
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<span style="font-family: 'Courier New', monospace;"><span style="font-size: x-small;"><span style="color: #3b3a39;"><span style="font-family: 'Nimbus Roman No9 L', serif;"><span style="font-size: small;"><br /></span></span></span></span></span></div>
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<span style="font-family: 'Courier New', monospace;"><span style="font-size: x-small;"><span style="color: #3b3a39;"><span style="font-family: 'Nimbus Roman No9 L', serif;"><span style="font-size: small;">Here
is the unedited version:</span></span></span></span></span></div>
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<a href="" name="__DdeLink__3316_1737422991"></a>
<span style="font-family: 'Times New Roman', serif;"> 'In the recent times', we may
use this phrase in our day to day conversation but, it is different
to conjure up a story depicting the contemporary society and training
the camera on the social mores and bringing into open the things that
are considered taboo and shooed under the carpet. This is what
director Arun Kumar Aravind has done in his new film 'Ee Adutha
Kaalathu'. The film depicts contemporary urban from every angle be it
a child's or a septuagenarian’s, the vulnerability we all feel yet
display a confident façade as if we are total control and nothing
would go wrong however precarious our actions maybe.</span></div>
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<span style="font-family: 'Times New Roman', serif;"> The
young director would rather like to call his film a “genre-mix”
and not a multiple narrative film like last year's superhit
'Traffic'; “To start with, EAK (the abbreviation of the title) is
not a multiple narrative movie. It has a straight narrative. Murali
Gopy had made the detailed one-line script for this movie three years
back, which means it was conceptualised in 2009. EAK, if you ask me,
has a completely new narrative, which blends various story-telling
techniques together. It is a genre-mix”, he says in a self assured
manner. Further adding that “We never planned this movie, drawing
inspiration from movies like ‘Traffic’, which were different in
their own unique way. When I first heard the one-line from Murali, I
was pretty sure that this movie was going to be completely different
from what we have seen till now on the Indian screen”.</span></div>
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<span class="Apple-style-span" style="font-family: 'Times New Roman', serif;">The
script of 'Ee Adutha Kaalathu' is much discussed as it is structured
as a Rubik's Cube telling the story of six people (or three couples)
from different sections of the society beginning with rag picker
portrayed by dependable Indrajith, his wife played by Mythili. Next
come Murali Gopy as a Corporate Honcho type of guy running a
multi-speciality hospital and his wife played by Tanushree Ghosh who
had failed to make it big in Bollywood in her younger days. And, the
oddest of them all being Anoop Menon, a modern day cop and Lena as a
TV journalist, pretending to be the liberated woman of twenty first
century with a host of other minor characters. At first the narrative
seems to be scattered as the pieces of a cube. They start to fall in
place at the end of first half. The Cube is even an intrinsic part of
the story, which is solved in the end with a hurrah. The director
explains the logic behind this: “We have used the Rubik’s Cube
not literally but subtly in the movie. The only point where it gets
literal is when we give the quote at the beginning of the movie
explaining the Rubik’s Cube and how it has similarities with the
lives that we lead on this planet. Beyond that, it is all subtle
pointers. And if you look closely, you can see that the dramatic
progression of the movie is akin to the solving of a Rubik’s Cube”.</span></div>
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<span style="font-family: 'Times New Roman', serif;"> The
film also becomes a visual documentation of contemporary urban
living, not only on the surface but also the psychology sketches of
the characters tackling taboos like a stressed out man trying hard to
hide erectile dysfunction, casual extra-marital flings and the
flourishing industry of making sleazy video clips using hidden camera
to feed the internet. One would be really curious find if the team
was apprehensive that these things could have alienated the family
audience, “We were not apprehensive but we were a bit nervous,
because of the amount of repression that we, as a population, have,
in this part of the world. But since this movie is all about telling
our stories in a sincere way, we were pretty sure that it would have
its connect with the audience”, says Arun.</span></div>
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<span style="font-family: 'Times New Roman', serif;"> Arun
was a visual effect expert who then turned to editing before taking
up direction, yet both his directorial ventures 'Cocktail' and 'EAK'
are stories requiring minimal technical glitz, “I don’t believe
in on-screen gimmicks, for the sake of it. I am very particular about
this. I believe that even a small movement of the camera must be
dramatically justified”.</span></div>
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<span style="font-family: 'Times New Roman', serif;"> 'Ee
Adutha Kaalathu' marks the second coming of Murali Gopy as a writer
after a long gap. So, to end the talk on a lighter note you ask Arun
how much credit should the writer get for the success of this film?
“In this movie, content and narrative is the hero. So, I give full
credit to the writer. I, however, would pat myself for sensing the
possibility of such a subject and scripting style”, he says with a
wink</span></div>
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<span style="font-family: 'Times New Roman', serif;"> In
fact, the writer and the director have bonded so well during the
making of this film that they have locked not one but two projects
working as a team.</span></div>
</div>Paresh Palichahttp://www.blogger.com/profile/15521084555278491021noreply@blogger.com2