Saturday, December 26, 2020
Scott: "I love you so much, why can't you leave your dirty business and love me back?"
Heston: "That's the way it is, and I told you so."
Scott: "Oh it's all about you, boo-hoo-hoo" Rinse. Repeat.
Anyhoo, it turns out the man Heston and his pals left out to dry committed suicide and now his angry psychotic elder brother is after their blood. Meanwhile the cops led by Dean Jagger are investigating the growing trail of corpses. There's an interesting "what if" alternate romance with the dead man's wife (Viveca Lindfors) that gets nipped too early in the bud.
Heston makes tormented poses, and talks a little rough to his girl, but the film isn't true blue noir, and gets a not entirely believable happy ending. The long shadow of the war past makes for some interesting plot elements, like Heston's camaraderie with his gang's waterboy - and the film's conscience - Soldier (Harry Morgan, later famous as the TV MASH's Col. Potter). Taken in whole, this Dark City is reasonably engaging, with some interesting chiaroscuro visuals, including the noir genre's favorite Venetian blinds shot (DoP Victor Milner). I do wish they'd avoided the very obvious back projection shots of Heston walking down the main street at the film's beginning, they were distractingly amateurish.
Tuesday, December 15, 2020
So here we are at the end of one of the strangest years, at least post-millennium. Apart from some die-hard Chris Nolan fans, most of us would barely have seen anything
at the cinema. But it's the film that
matters, and not where you saw it, so here's my take on the movies I saw in 2020:
I was quite pleased with:
The Disciple (Marathi) - Chaitanya Tamhane's trademark observational style tracks the journey of a man aiming to make his place as a classical exponent. Steeped in the more esoteric world of Hindustani classical music, it doesn't have the impact Court had, but on the whole quite good, and especially rewarding for people that can appreciate large swathes of Indian classical vocal performances.
Ayyappanum Koshiyum (Malayalam) - A revenge story that could have easily been cliched is, by attention to detail and a beautiful organic building up of scenes, made into a gripping yarn. Three hours have rarely gone by so easily.
1917 (English) - Probably the only movie in this post I saw at the cinema. This WW2 action drama is good fun, technically well done, giving the impression of having been achieved as one long tracking shot. It's a gimmick of course, but marvelously achieved. The entire second half has the quality of a dream sequence. The script is like that of a video game and characters have no real depth, but except towards the very end, I didn't feel the film overstayed its welcome.
Choked (Hindi) - I thought the new Anurag Kashyap movie was quite decent. It's more modest than the usual AK film, but that also translates to less self-indulgent. There is one sequence which is brilliant in the way it cross-cuts two entirely different events generating the rhythm in-situ and then goes into a third sequence which is a marvelous fantasy that ties in with the main character. Also, an AK film where no one even says 'Chutiya' gladdens my sanskaari sentiments.
Uncut Gems (English) - It's not often I can stick through a film with a fatally unlikable protagonist, but even at 2hr 15min with some significant sag in the middle, this one can be said to be on the whole gripping and frequently outrageous (in a fun way). Both the script and Sandler's performance work to keep us interested without stooping to give the character cheap sympathy. Under the senses-saturating direction of the Safdie brothers, the film also becomes an ode to street smart New York.
These were alright, but could have been better:
Chhapaak (Hindi) - Fairly alright as these things go, similar to last year's Uyare. Thanks to excellent prosthetic work and quiet underplaying, Deepika Padukone is mostly convincing as an acid attack survivor who reclaims her life...far less so as the lower middle-class public school educated dilli-waali she is supposed to be.
Putham Pudhu Kaalai (Tamil) - An anthology of 5 stories, unrelated except that they are all set in the time of the initial Covid-19 lockdown period. The bulk of the individual episodes are more okay than great, a sort of sentimental oatmeal. Still, there are good moments, and it's lovely to see familiar faces do parts they are comfortable with.
Raat Akeli Hai (Hindi) - A sort of "noir lite" (latte?), never brilliant, but also doesn't have many obvious missteps, apart from casting Radhika "where did I leave that phone?" Apte and some lazy deus ex machina scripting. Mostly it works as a star-vehicle for Nawazuddin Siddique and for its excellent night-time cinematography.
Helen (Malayalam) - Even with its flaws (too long with unnecessary prologue to establish lead character), Helen was a nicely done survival story of a girl trapped inside a walk-in freezer, who must escape before she dies of cold.
Driving Licence (Malayalam) - The "other" Mallu revenge movie with Prithviraj (and written by Sachy). I thought DL was okey-dokey where AK was exhilarating. The situations in the script don't feel as organic, and there's too much of script contrivance, buffoonery and deus ex machina.
Extraction (English) - Extraction on Netflix was a rather decent serious action film up until the very end. The bulk of the film is a lot of road rage and close quarters combat set in the crowded bylanes and box-like apartments of Dhaka, and this is executed efficiently. It suffers in trying to give an epilogue for too many of its characters, and it could have definitely done with some trimming of the dramatic cliches, but it's not bad as Netflix fodder goes.
Avane Srimannarayana (Kannada) - With influences as disparate as Dabangg, Rango and the traditional Yakshagaana (or perhaps taking a leaf out of Goopy Gyne Bagha Byne), it is only natural that after a point Avane Srimannarayana wobbles under its self-indulgent style (the last third is something of a cave-in - at the end, quite literally). But like with Jagga Jasoos, it is for a surprisingly major part of its (186 min!) running time, delightful in its whimsicality.
Vaanam Kottatum (Tamil) - A generic bad guy and a climax that cranks up the stupidity quotient spoil it a bit, but for the longest time, VK is a sturdy masala family drama mixing elements of the rural potboiler with classic Maniratnam style. I love that they give a fair amount of importance to the individual character arcs. Performances are very solid too, especially Radhika showing you why she is one of the great drama queens of Indian mainstream cinema.
Trance (Malayalam) - It has a very strong beginning and some trippy visual ideas, but sloppy writing in the latter half brings it down a few notches. Still worth watching for the strong acting talent on display.
Seriously undermined potential:
Gulabo Sitabo (Hindi) - A potentially beautiful story that turned out a terrible movie. The tone here (like Amitabh Bachchan's oversized prosthetic nose) struck me as completely wrong. What should have been a bleak vehicle about a pathetic rat-like scavenger with grandiose dreams, where the humor should come in biting irony, is painfully shoehorned into a sitcom with grating "comedy scene wala" background music. Even the end of what feels like a 5 hour slogfest is ruined by an imbecilic coda. Amitabh is surprisingly good as a wizened wretched geezer. If they had made it with the right tone he had the chops to give a moving performance. But now that's just a load of coulda-shoulda-yada-yada.
Kannum Kannum Kollaiyadithal (Tamil) - KKK aims to be a constant roller-coaster of plot twists, and it occasionally works, but the script suffers from depending on outlandish contrivances and logic gaps it does not have the chutzpah to smooth over. The actors have a (mostly) likeable presence and the script doesn't tries to preach morality, but 160 min is an ass-busting running time for a thriller that doesn't take pains to constantly grip the audience.
Fakk this crap:
Gunjan Saxena (Hindi) - It was so dumbed down they should have a label for it that says "for kids from ages 6-10". The writing has all the finesse of having been done with crayons and thick markers. Every scene is about handing out a homily or making a Hallmark frame. Not a single moment feels free of an agenda, ironic for the journey of a woman that wanted to soar unfettered.
Shakuntala Devi (Hindi) - Going by the tone, it seemed that the director comes from an ad film background. Half the film feels like a promo for detergent or a health drink, and the other half feels like it's trying to sell you a bank loan. I'd rather read a Maths textbook.
Bulbbul (Hindi) - It's not unwatchably bad, and has some seriously well done visuals, but it is the kind of horror story that, if you've seen / read any horror stories before, you will know within the first 15 min EXACTLY how it's going to play out; the film does not once in its entire 90 min running time surprise you. I suppose one must be grateful for its not having the twist-for-twist-sake convolutions that make you want to slap the writers silly, but it is a slog.
Good Newwz (Hindi) - More like Horrifying Newwz, THIS was a terrifying experience!
Ponmagal Vandhal (Tamil) - On paper this masala courtroom drama seemed like an interesting if flawed enterprise; in actuality, it's a train-wreck. The script seems written by a drunk 5 year old, and the direction is devoid of consistency, randomly veering between stylish and creaky 80’s formula. From start to finish a load of rubbish.
Mardaani 2 (Hindi) - I felt that the 105 min running time at least suggested a crisp movie; turned out to be mostly a waste of 105 min on a mediocre potboiler (no songs, that's a mercy) that needed far better writing.
Friday, December 11, 2020
Outside, his car is stolen by a blowhard delinquent and his girlfriend,
who take it for a joyride. They find a gun in the glove compartment, and
thus begins their own journey towards violence. Meanwhile, the woman
waiting impatiently for the lover that didn't show up, trawls
through their familiar haunts hoping to get news of him, only aware that
she saw his car being driven away earlier with another girl in the
In terms of rational plot, Elevator to the Gallows is not always convincing. If the
woman is having a secret affair, how is it that every bartender in town
knows who she is going with? That would have been difficult to
hide, especially from a husband who seems to be involved in arms dealing and some form of
espionage. The behavior of some of the other characters also seems to
be decided more by where the plot needs to go at a given moment rather
than be an organic expression of their personality.
But it does not matter much because Elevator... is a film of style and attitude, and it delivers that in spades. Even when I am not convinced why, I can endlessly watch Jeanne Moreau walking the chiaroscuro Parisian streets at night with a smoky, downbeat Miles Davis trumpet in the background (the score is astounding, and reminds me of one of my favorite albums - Sunset Mission by Bohren & Der Club of Gore). Everyone is perfect in their parts (look for Lino Ventura turning up later as a detective). This may have been Malle's first fiction film (before this he worked on documentaries with Jacques Costeau), but his style is bold and consistent. Henri Decae's luminous B&W photography captures the claustrophobic confines of the elevator (and in a pulse-tingling moment, the shaft) and the gritty streets of Paris with equal flair, and Leonide Azar's editing is deft. Elevator... is a film I suspect I will be revisiting several times just to soak in its irresistible brand of elegant melancholy.
Thursday, December 10, 2020
Holiday, the 1938 George Cukor film (based on a Philip Barry stage play) with Cary Grant and Katharine Hepburn, is a fine social satire meets comedy of manners. A young maverick Cary Grant barrels into the home of the girl he fell in love with on vacation (Doris Nolan) only to find she belongs to a wealthy upper-crust family. The father (Henry Kolker) is a proper prig who values money and privilege above all, and her brother (Lew Ayres) whose creative interests were cut short by dad, has become a depressed drunk (in old-skool Hollywood manner, meaning he pleasantly slurs out what the other characters demur from openly saying). But all is not gloomy, there's the lively sister (Hepburn) who refuses to abide by the house rules, and is one of the few who understands Grant's desire to concentrate on making life meaningful rather than slog for money and possessions.
Right from the early setup we know how this is going to turn out; there is no doubt that Grant and Hepburn are made from each other, and since
it's not a David Lean film, it is unlikely to end in bittersweet parting. Such
predictability does not however reduce the fun. The writing has the
efficiency of clockwork and characters are drawn and acted in a hugely
likable manner, even the snobs (I do feel for poor Henry Daniell,
served up with a caricature similar to the Belknap-Johnson role from Ruggles of Red Gap,
and unworthy of that actor's brilliance). The repartee is snappy and
the chemistry is hot. Heck, Grant even turns cartwheels and Hepburn does
a tumble trick, that's value for money right there.
It helps that even though Grant's character wants to please his bride-to-be's family, he is at no point willing to be a doormat. Hepburn's otherwise feisty character is less believable when she's suppressing her own emotions to try and get her obviously less interested sister together with Grant, and the climax could have been in less of a tearing hurry to get our leads to kiss behind the 'The End' titles, but these are minor quibbles for such an giddily charming film.
Monday, November 30, 2020
To read the rest of the review, submitted as a Readers' write-in to Baradwaj Rangan's blog, please go HERE
Saturday, August 29, 2020
Saturday, August 15, 2020
Thursday, July 30, 2020
Friday, July 24, 2020
The drama is peppered with a fair amount of slapstick humor, most which comes from the local lads' fascination for the "fair-skinned northie girl". It's not sublime comedy, but not intolerable either. Then there's the wrestling. Sadly, Dangal, which came before this, set such a high standard for authenticity in a wrestling movie that Godha just doesn't match up. Aditi is given a cardboard nemesis in the form of Pinto, a dread-locked wrestler from Delhi (if Pinto had been shown to be a Malayalee, it would have at least made for an interesting juxtaposition). Apart from playing unfair on the mat, Pinto repeatedly baits Aditi, even challenging her to a "Where you want, when you want" bout that makes Aditi's win on a home-crowd supported ground less of an underdog story. There's an unconvincing bit about the brother attending her bout and cheering her on when she needs it (there seems no reason for him to have had a change of heart).
Friday, July 17, 2020
THND goes through a battery of tired horror movie stereotypes - stuff that goes bump, someone walking past in the mirror, ghostly face at the window, levitating furniture and stuff that gets hurled around. There's little here that's fresh or, like with the entertaining first installment of The Conjuring, done with enough energy to transcend the cliche. The stray good scene, like when Sid must try to ignore visions of ghosts while he's trying to do a delicate brain procedure, provides too little relief. The screenplay is predictable to a fault and while the camera captures some interesting colored lighting that harks back to Dario Argento's Suspiria, the imagery (CG or otherwise) to depict the ghosts is unimaginative. On the whole this Grudge is a drudge.
Friday, July 10, 2020
Thursday, June 25, 2020
In early 20th century Bengal, strapping young lad Satya returns after many years to a home where his much elder brother has deserted, abandoning his child bride Bulbbul. Much nearer in age to Satya, Bulbbul's coquettish behavior suggests old passions. Meanwhile, a bunch of murders in the neighborhood are being attributed to a Chudail.
Bulbbul is the kind of horror story that, if you've seen / read any horror stories before, you will know within the first 15 min EXACTLY how it's going to play out; the film does not once in its entire 90 min running time surprise you. I suppose one must be grateful for its not having the twist-for-twist-sake convolutions that make you want to slap the writers silly, but it is a slog.
Monday, June 15, 2020
Tuesday, June 9, 2020
Saturday, June 6, 2020
Friday, May 29, 2020
While there are occasional thoughtful touches and winking nods to popular Tamil cinema, the major problem with Vettai as a movie is that for its butt-testing 2.5hr length there are no surprises and no tension. Arya is so badass he can beat up dozens of goons alone. At one point in the film, Madhavan's character undergoes a transformation that with a quick training montage converts him into an equal badass. Every encounter has a foregone conclusion, which makes the film a chore to sit through.
Wednesday, May 27, 2020
This unveils the main social message of the film, awareness about Section 49p of the Conduct of Election rules which says that anyone who finds their vote has been illegally cast can demand to cast a ballot paper vote. Of course, like any self-respecting Tamil hero in the post-Shankar world, Sundar is not content with winning the right to cast his single vote; he provokes the public at large to submit similar petitions. As a result, the party celebrating its sweep of the polls finds that the administration has called for a re-election. This means war between Thalapathy and his politico enemies - P. Karuppiah and Radha Ravi in the best sneering tradition of Tamizh Padam villains - where he must go from merely claiming voting rights to setting up a virtual party of independent candidates to stand against the baddies. No prizes for guessing who wins.
Much speculation has been made about the part played by movies like Sarkar as a deliberate ploy by Vijay to pave the way for a future political career. The film works to promote him as an aggressive youth leader with a pulse on the people (one scene has him give the "I too have come from poverty" spiel). This is the first time I have seen a Vijay film in full, and this guy is basically a Rajinikant clone in terms of acting style and gestures. He is always two steps ahead of the bad guys, and takes on roomfuls of goons with barely a crease on his natty beige blazers. The fight scenes are boring, with random slow-motion, camera-shakes and freeze-frames, the bad guys flipping over if Thalapathy even looks in their general direction.