Aavesham [dir. Jithu Madhavan]

A close friend coined for me the "10% Rule" wherein supposedly I develop an immediate distaste for any piece of entertainment enjoyed by more than 10% of my friends list (this was before Facebook, when that phrase had a little more meaning). It is of course wholly untrue: I love Chennai Express and despise Ghostworld as much as all of you, so there.

Anyhoo, this came to mind because of the hype I encountered about Aavesham from Malayalees of my acquaintance as an "event" movie. With only a teaser that showed star Fahadh Faasil doing a dhappaankoothu number in bath-towel and glares, I went in without many preconceptions.

In Aavesham, Faasil's introduction is nearly a third into the film and one that flips over the usual "mass" dick-waving even as it takes place in a urinal. And the build-up is its own interesting character, because the story's actual protagonists are a trio of Kerala teens (Mithun Jai Shankar, Hipzster and Roshan Shahnavaz) enrolled into engineering college in Bengaluru. A sly vein of humor outlines the difference between the expectations of college from these young men and their naive parents.

For a little while we see our guys spreading their wings; they're not wastrels, they just want to have a bit of fun alongside their education. Hipzster's Aju is the street-smart one, urging all the newcomers to go united as a gang to avoid getting hazed by the seniors. But when one of them gets too cocky, that plan backfires and they are subjected to a humiliating beating. Interestingly, the seniors gang leader Kutty (Midhutty) is not all sneer and brimstone. Once his ego is satisfied, he hands out drinks and calls them his 'bros', accepted members of his troupe. But Aju wants vengeance and comes up with the foolhardy scheme of befriending a local gangster to aid them.

It is in their trawling through shady local bars that our trio meets up with Ranga (Faasil). Ranga is a conglomeration of the archetypes of on-screen toughies. He wears an all-white outfit and is laden with gold jewelry. Branded sunglasses and a well-oiled handlebar mustache complete the outfit.

Ranga takes the kids under his wing and shows them a good time. Regaled with booze and legends of Ranga's badassery told by his burly right-hand-man Amban (Sajin Gopu), it isn't long before the colorful nightlife eats into their academic schedule. At last, taking the opportunity, they let Ranga know of their humiliation, coaxing him into exacting retribution from Kutty's gang. But all actions have consequences; so does their association with the gangster for the purpose of petty revenge.

On paper, Aavesham has a lot going for it. The 3 youngsters have the right combination of cockiness and naivete that you can believe their sticking together for such a cockamamie business. It helps that there is no romantic sub-plot for any of them. For a while, there is a delicious ambiguity as to whether Ranga's past exploits are real or just tall stories; during most of the fights, the kids only see him barking instructions to his lackeys, not actually taking part. The writing and Faasil's commitment to a 'big' performance glorify the gangster archetype while simultaneously poking fun at it. Sajin Gopu provides an able foil to Faasil. Their Ranga and Amban have a rapport that pleasantly harks back to the Munnabhai-Circuit scenes from that franchise, and Faasil does not hesitate taking the character to psychotic extremes when needed.

In short, the ingredients are great, but alas, the final dish turns out overcooked. The major issue for me was, the pacing is way off on this one. What could have been a riveting and joyful sub-100 min black comedy (One part of the climax recalls a similar moment from The Shining) is stretched out to a fatiguing 160min. Ranga's full-vein swag is fun the first couple of times, but the movie piles it on ad nauseam. The sub-plot with Mansoor Ali Khan as Ranga's jealous ex-mentor Reddy is amusing in itself, but an unwieldy addition to an already stuffed narrative. Even with all its interesting bits the movie became a bit of an ordeal.

At the risk of my 'Mallu' friends sharpening their 'tools' to skewer me, I have to say that this Aavesham is marred by the 'anaavishyam' (excessive and unnecessary) amount of swag. YMMV.

Civil War [dir. Alex Garland]

55 years ago Haskell Wexler, known primarily as a cinematographer (Who's Afraid of Virginia Woolf?, In the Heat of the Night, One Flew over the Cuckoo's Nest), made a film called Medium Cool. Wexler's film was an auteur-driven enterprise, written, photographed edited, co-produced and directed by him. In it, a young Robert Forster (Jackie Brown) played a Chicago TV news cameraman dispassionately capturing sensationalist stories with his 16 mm in the period leading up to the rioting at the Democratic National Convention. While not a period of actual civil war, there was a strong element of unrest among the American people on account of opposition to the Vietnam War and the assassination of Equal Rights activist Martin Luther King. With its nouvelle vague inspired freewheeling journey, Medium Cool captured the zeitgeist of that period in a manner few films have. As critic Vincent Canby says in his review, it portrays "...a picture of America in the process of exploding into fragmented bits of hostility, suspicion, fear and violence."

Alex Garland's Civil War is set in an even more chaotic dystopian near-future, with the White House a fortress occupied by a Fascist dictator and the country torn apart by violent secession. Veteran combat photojournalist Lee Smith (Kirsten Dunst) and her comrade Joel (Elite Squad and Narcos fame Wagner Moura) plan to travel from Brooklyn to DC to interview the president. Tagging along is their mentor Sammy (Stephen Henderson). Sammy has played the game a long time, but now he's "too old and fat to run", even to save his life. They have another fellow traveler in Jessie (Cailee Spaeny) a wet-behind-the-ears novice lugging around her father's film camera. Having seen her lose it at a riot event they previously met at, Lee is reluctant to take the girl on board, but Sammy and Joel convince her.

In their road journey to the capital, the group see violence in multiple forms, including armed assault, cruel vigilantism and even mass civilian murder by militia groups. Garland dishes out some mordant humor: The once-almighty US dollar is shown to be hugely devalued ($300 can only buy a ham / cheese sandwich). In a shootout between two bands of snipers, one of the men mockingly answers Joel's question about which faction they are fighting with "The guys trying to shoot us".

While Garland originated as a writer, the most gripping parts of Civil War are the visuals (DoP Rob Hardy, who handled cinematography for Garland's previous features Ex Machina, Annihilation and Men). The scenes of rioting and armed conflict are captured with veritable intensity. Garland also uses the  full height of the IMAX screen, especially noticeable in the scenes where helicopters glide over troubled vistas or during the large scale climactic battle in the capital. The format also gives tremendous depth of field and a 'window effect' into the happenings on screen.

The visuals are sadly undercut by the predictability of the narrative. Where Medium Cool or Oliver Stone's Salvador (also about an American journalist caught in a civil war) echoed the chaos and desperation of unrest and gave it a personal edge, Civil War mostly follows a conventional coming of age drama - Lee is the aging camera-slinger that takes a maternal interest in Jessie (even Joel who is said to be hitting on her never crosses any line) and the youngster in the course of her adventures wises up to emulate her idol (this is contrasted with Lee suddenly losing her nerve during the final conflict). A certain "circle of life" metaphor hinted at early in the narrative is given a groaning realization in the climax.

Don't get me wrong here, Civil War is admirable for its technical audacity - Garland achieves the kind of spectacle that would normally require 2 or 3 times the budget, and he does not trivialize his material with fake heroism. The actors are fine too, adjusting to the physical and emotional needs of their characters. But the rote writing reduces the film's power as a statement on the brutality of civil war.

P.S. If you are seeing the film, make sure to catch it on the largest screen format.

The Funeral [dir. Juzo Itami]

Juzo Itami's Tampopo, an ode to the transcendent pleasures of food, has been one of my favorite films to re-watch, so I had no issues about blind-watching his debut feature The Funeral (Ososhiki). This is a strongly autobiographical narrative about a couple that has to organize a wake ceremony for the wife's recently deceased father. Nobuko Miyamoto and Tsutomu Yamazaki (who were also the leads in Tampopo) play married actors who must rush out to their country home to arrange a 3-day funeral for her just-expired father. This involves calling all the close relatives and friends (over 100 people), setting up the funeral altar, inviting a priest to chant sutras, and then there's all the catering for the guests during and after the rituals.

Almost every mainstream culture across the world has its own set of elaborate (and frequently absurd) ceremonies to mourn the passing of the lost one and "ensure passage of his/her soul to a higher plane". We have all been through these experiences, and had moments of bafflement and even inner  outrage over the arcane rituals constituting the death ceremony. While not disrespectful, Itami does see the humor in these proceedings. There's a delectable comedy of manners that plays out here, some insidious satire - the couple watch instructional videos on how to behave during the ceremonies, the priest (Yasujiro Ozu regular Chishu Ryu) arrives in a luxury car. There's even a bit of slapstick, like when a relative flops over after his feet go numb during the lengthy ritual, or when the couple's young son deviates from the cursory tap on the coffin nail to really hammer his grandpa in.

The film has an episodic structure, dividing itself into the 3 days of the funeral. Even aside from the casting of Ryu, there's a strong influence of Ozu in the look and tone. I suspect the 4:3 aspect ratio reflects Itami's desire to emulate Ozu's style. He also pokes gentle humor at the master's trademark low angle 'Tatami mat' shot with the distorted perspective view of an ad film shoot, where a man is shown to be served tea by a giant geisha. His own nods to the sensual pleasures are indicated in the extravagance of the deceased man's last supper and the scenes of merry making during the wake ceremony.

The Funeral ends on a poignant, but positive note - the ceremony has allowed the family the emotional catharsis to overcome the loss and get on with their lives. It may not be as flashy or well-known as Tampopo but The Funeral is a terrific debut film, and one I feel will be an excellent comfort watch to return to.

Here's a really strange trailer of the film:

Now a few words on the blu-ray release from Criterion.

The back cover blurb simply says "High-definition digital restoration", which raises doubts about whether this is some older HD master. Fear not, the film looks so spanking good it might have been shot yesterday. Colors are healthy and detail is strong. The lossless mono audio nicely recreates the subdued acoustics of the dialog and gives a full-bodied rendition of Bach's Air on a G string, used at multiple points in the film. Supplements include illuminating interviews with Nobuko Miyamoto (who was also Itami's wife and creative partner) and their son Manpei Ikeuchi (who was the delightful child actor in the film), a short piece on the husband-wife collaboration, and a set of rather puzzling pastry commercials directed by Itami.

The booklet is also healthier than usual (nearly 40 pages!). Apart from the standard essay, it contains excerpts from a diary Itami wrote of the shoot, and a candid recollection of the maker by lead actor Yamazaki.

Frankly, this is a film I think everyone should see (You have to be a special kind of curmudgeon to not like it). It's very relaxing and gently contemplative, the humor sly but not mean-spirited. The blu-ray presentation is stunning and the supplements worth going through.

The Road House Rundown

I have to confess I was never a big Patrick Swayze fan during his heyday. His romantic leading man style was not a huge draw for my schoolboy self, who was more interested in slashers and bullet-buffets. It didn't help that his biggest hit Ghost was a movie I loathed for being a piece of garbage. So while I had heard of Road House at the time, the idea of Swayze as an action star did not (ha!) sway me and so I'd never actually watched it before. It was the release of the 2024 remake on Amazon Prime that made me reconsider.

The '89 Road House has over the years become something of a cult classic. Swayze plays Dalton, a tough guy with a feared name, who is hired by bar owner Kevin Tighe to handle the violent elements that are ruining his business. With sheer presence and the occasional takedown he starts to bring order into the place. Then Dalton comes up against local big-shot Brad Wesley (Ben Gazzara), an extortionist and shady businessman who rules the town with an iron hand.

Very rightly it has been pointed out that Road House, while clothed in  80's garb, is really a 'Western' - Swayze is the taciturn new gunslinger in town and Gazzara is the evil big rancher that's been squeezing out the small farmers, store-owners, and heck, even the saloon guy. A large part of the film runs on Swayze's charm. He has excellent chemistry with the supporting cast including the sultry Kelly Lynch. Gazzara can be a wonderful actor when he wants - check out his work with John Cassavettes or his pivotal part in Anatomy of a Murder. Here he's slumming it in a caricature "evull" role, still he gives this joint a bit of class. As I later learned, Swayze had studied some martial arts and this comes in handy for the several nicely choreographed action scenes. The fist-pumping soundtrack is provided by the enthusiastic Jeff Healey Band.

Apart from the nudity, most of Road House is a solid PG-rated adventure. The climax however decides to go very violent, what with throat-rippings and shotgun massacres. It's a startling change of tone, and I wonder if it was influenced by the trend of the violent spectacles from Stallone, Schwarzenegger & Co (even the way houses explode is hugely exaggerated, like they were filled with dynamite and kerosene). It is an absurd kind of film (as Roger Ebert's review very rightly points out), but there's a charm to it, courtesy the likable cast (a hot Sam Elliot appears as Dalton's buddy), the action and the rousing rock score.

Road House (2024) is a remake led by a ridiculously shredded Jake Gyllenhaal. This film's Dalton is a retired UFC champion who apparently has such a reputation his opponents prefer to surrender without a fight. Now making a living in illicit fight clubs, he soon lands up to protect the titular bar (In the original film the place was called the Double Deuce).

While Swayze's character radiated a taciturn "Don't fuck with me" menace, Gylenhaal's Dalton is more chatty and affable; he even drives down his opponents to the local hospital after he has broken their bones. I appreciate that Dalton is not another sullen asshole, but it makes the dark side of his persona a lot less believable - Then again, it's a very cliched "I once killed a guy in the ring" dark side, which John Wayne did much better in The Quiet Man.

The bar in the remake is apparently such a good deal they have a different act performing every night. This dilutes the more cozy feeling of the original and makes the performance aspect more anonymous. The bad guys are now dealing in drugs and real estate. The action is amped up with boat chases and bigger explosions. Real-life UFC champion Conor McGregor makes a huge impression as Knox, a crazy tattooed mob enforcer up against Gyllenhaal - McGregor's performance is not necessarily in tone with the rest of the film, but he livens up every scene he is in. He shows the potential to become a big movie player, if he can keep out of jail.

Road House (2024) is more self-aware and a precocious young girl in the cast makes smirky remarks about it being a Western narrative. Director Doug Liman (who previously did the surprisingly enjoyable Edge of Tomorrow and American Made with Tom Cruise) has a certain felicity with humor, but this remake is more passable than memorable.

Aadujeevitham aka The Goat Life [dir. Blessy]

Some way into Aadujeevitham / The Goat Life (TGL), I started to wonder if the hall was playing it without the mandatory intermission. Normally, outside of festival screenings, cinemas in India have to have this mid-break for people to buy snacks or empty their bladders, even with sub-100 min films. It was then I realized with a sinking feeling that this tedious survival saga of a Gulf-bound Malayalee in the 90's shanghaied as slave labor for an isolated goat farm in the searing desert was going to run for around 3 hours. My feelings then mirrored those of the harrowed protagonist.

I realize that sounds rather insensitive. I'm not against downbeat survival dramas, no. Some amazing books and films have come from this genre. But throughout the running time, I was never once able to sufficiently empathize with the character to feel his plight. It's a real pity, since it is based on an affecting true story, and there is certainly a lot of effort taken in the making, not least by lead star Prithviraj Sukumaran. As the protagonist Najeeb Mohammed he dons a rigorously de-glammed unkempt avatar for most of the film, and even undergoes a body transformation to represent what Najeeb had become after two years of slavery. I also appreciate that the film remains faithful to the idea of Najeeb barely surviving his ordeal, not becoming some kind of hero that fights back and defeats his oppressors.

The film offsets the scenes of Najeeb's grim fate in the desert with memories of his life in Kerala where he has left a loving wife (Amala Paul) pregnant with their first child. Water and greenery feature heavily in these memories (and fantasies), contrasting with his arid, sandy present (DoP Sunil KS). It reminded me of Shaji Karun's 1994 film Swaham, which contrasted the grim present of the widow protagonist with her happy past by depicting the former in black and white and the latter in color.

Sadly, those are the only good things I can say. A great survival film is made by its little gestures and micro-moments. I can empathize with the character's plight only if I find the character interesting to begin with. In TGL, writer-director Blessy's script is cringingly broad-strokes and pedestrian. At one point, Najeeb and a fellow Malayalee team up to escape with a North African slave (Haitian actor Jimmy Jean-Louis, who looks like he was participating in an Idris Elba lookalike contest). I get that the African guy is better used to surviving the desert environment than these Keralites, but they behave like such headless chickens, you want him to throw up his hands and abandon these idiots to their fate, instead of being the noble Samaritan who repeatedly pulls their asses out of danger. A little later he literally disappears from the film, suggesting that he preferred to commit suicide than bear any more idiocies.

But the worst part of TGL was AR Rahman's score. It's so bad in its choppiness and overbearing sentiment it made me nauseous and feeling like my ears were being bored by a power drill. I was undecided whether I wanted to repeatedly stab at his jugular, wrench his balls off with rusty pliers or ram a barbwire wrapped club up his butt.

I understand the hype this movie has got, and the trailer did a great job of selling it as an edgy saga, but after surviving through the ordeal I felt like an utter goat for having signed up.