Fashion (A)
Cast: Priyanka Chopra, Kangana Ranaut, Arbaaz Khan, Samir Soni
Direction: Madhur Bhandarkar
After Page 3’s success, Madhur Bhandarkar has comfortably settled into his self-created niche: as the obliging voyeuristic camera for the middle-class. He is banking the masses obsession with the lives of the rich and the famous and its (masses) desperate need to be consoled that it’s own unglamorous lifestyle is somehow morally superior to the lives of the uber fashionable and that women smoking and homosexuality are deviant habits and of only the very wealthy.
So in compliance to age-old stereotypes, we have a small-town girl shake her head apologetically when offered cigarettes or wine, only to grab at both when she gets successful. And finally, since the good always wins and the good girl never smokes or drinks, she is back to mouthing her polite ‘no’s’ in the end.
The story is about models trying to make it in the glitzy world of fashion. While one model, who enjoys the coveted position of being the ‘face’ of a popular fashion magazine, is on her way down, the other struggling model is catwalking her way up. Priyanka and Kangana, who play the two parts, look stunning with enviable wardrobes. But Priyanka does not appear young enough and Kangana needs some serious work on her diction. Despite the heavy borrowing from true incidents, neither of their stories pull any heart strings. Except for that much-hyped wardrobe malfunction sequence. Well-taken shot indeed. In only Madhur could have stuck to editing like that. Also, I loved the matter-of-fact (as matter-of-fact as Hindi drama allows you) way Priyanka aborts her baby.
What made no sense was the new model-actress (Mugdha Godse) to marry her gay-friend. Made no sense at all.
It’s hard to ignore the depiction of all designers as gay men and all models as straight women (except for one male model, on whom there isn’t enough focus to right the imbalance). Equally surprising, given the importance clothes have in the industry, is that there is scarce a reference to brands or labels. The glaring problem seems to be Madhur picking on an industry he knows little about and most unlikely, respects. About homosexuality, there was absolutely no sensitivity involved. Everytime one gay hit on another or spoke about his boyfriend, it only invited guffaws from the audience, like it was obviously designed to.
Why, oh why, this obsession with cigarettes and drug abuse and promiscuity? Aren't there other problems in the industry or (given his preoccupation) with models? Like anorexia, long hours, the age-limit, etc, etc? So one-track his mind seems to have been, che!
Music by Salim-Sulaiman adds the required chutzpah to the models as they briskly twirl under the arch-lights. Quite like the sound track, whenever I found myself listening to it. The few instances when transitions in character and plot are dealt with quickly are great (like Priyanka getting physical with Arbaaz or her in the auto after she sleeps with a stranger). The emphasis here is on ‘few’. At nearly 3-hours, the movie is just way too long.
The whole 20 minutes after she returns to Chandigarh are terribly done. ONE YEAR??? One year she doesn't do anything except to stare listlessly into space? Pulllease!
It is with some amusement that one watches Madhur do a cameo and then have a model call his cinema “realistic”. Truuuph! Wise of him to then, post-production, publicly state that Fashion is actually not about the fashion industry. Bang on, dude. And next time don't even claim to have done research. It insults your intelligence.
Saturday, November 1, 2008
Thursday, September 4, 2008
On the rocks
Rock on!
Hindi (U)
Cast: Farhan Aktar, Arjun Rampal, Purab Kohli, Shahana Goswami
Direction: Abhishek Kapoor
Here's the gist of it: Four friends, part of a college band, reunite ten-years later to have a second go at a rock competition.
Aditya (Farhan Aktar) is the lead singer and lyricist of the group, while Joe (Arjun Rampal) is the lead guitarist. KD (Purab) plays the drums, while the clearly-not-made-for-acting Luke plays Rob, the keyboardist.
All goes fine until ego clashes break the group up. A decade later Aditya’s wife attempts to reunite the band with the hope of shaking him out of his depression, but Joe’s wife (played with amazing conviction by Shahana Goswami) refuses to let it happen. Of course its obvious how movie will end. And somewhere, from the 90th minute perhaps, the movie really beings to drag. Too many sub-plots are stretched (directorial masturbation if you ask me!) - like Jenny (Joe’s wife) visiting him in his apartment. Yea, we get the contrast of lifestyle between the two, but you got to accept that there is only so much 200 minutes can take. Oh, and Aditya’s reasons for breaking up with his girlfriend is just too stupid. His friend thinks he’s hogging the limelight so he break-ups with his girlfriend? Huh?
The team has worked hard to keep the college rock scene as real as possible, though they could have gone with a less adolescent name for the band than Magik (what were they thinking?!?). Anyhow, Remo’s choreography ensures that the actors look like rockers on stage. Strangely though, the crowd in Pichle Saat Dinon Mein sing amazingly well when the mic is turned to them. Also, when did college crowds so enthusiastically cheer a band? Last I remember from my days, every band was religious boo-ed until they proved their mettle. I think it would have great if they had recorded a real crowd trying to sing with them.
Music by Shankar Ehsaan Loy is good, no doubt. But it sure isn't going to appeal to die-hard rock fans. It’s way too mainstream for that. Plenty of electric riffs don’t make rock, guys. But that said, the music by itself (I mean without thinking of it as the product of true-blood rockers) is foot-tap worthy. Loved Farhan’s crooning Tum ho to, though Javed Akhtar’s lyrics just don’t seem ‘rock’ enough. It great, however, that all the guys sing their own songs.
Arjun Rampal greatly suits the aging hippy-biker look he wears in the movie. In fact all (minus Luke - who looks positively blind in his shades) do phull justice to their roles. Must mention: Purab’s go at the drums in the end is pretty good.
Farhan of course looks the best - on stage and off. He combines coolness and intensity so well, he’s sure to be Bollywood’s next teen heart throb.
I doubt this movie is going to produce/ encourage any sort of a rock culture. Nor is it any ‘coming of age’ kind movie, like they claim it to be. It has no depth for that. What it might is produce a million wannabes who’ll abuse rock motifs for that rebel look.
Rating: 3 stars.
Hindi (U)
Cast: Farhan Aktar, Arjun Rampal, Purab Kohli, Shahana Goswami
Direction: Abhishek Kapoor
Here's the gist of it: Four friends, part of a college band, reunite ten-years later to have a second go at a rock competition.
Aditya (Farhan Aktar) is the lead singer and lyricist of the group, while Joe (Arjun Rampal) is the lead guitarist. KD (Purab) plays the drums, while the clearly-not-made-for-acting Luke plays Rob, the keyboardist.
All goes fine until ego clashes break the group up. A decade later Aditya’s wife attempts to reunite the band with the hope of shaking him out of his depression, but Joe’s wife (played with amazing conviction by Shahana Goswami) refuses to let it happen. Of course its obvious how movie will end. And somewhere, from the 90th minute perhaps, the movie really beings to drag. Too many sub-plots are stretched (directorial masturbation if you ask me!) - like Jenny (Joe’s wife) visiting him in his apartment. Yea, we get the contrast of lifestyle between the two, but you got to accept that there is only so much 200 minutes can take. Oh, and Aditya’s reasons for breaking up with his girlfriend is just too stupid. His friend thinks he’s hogging the limelight so he break-ups with his girlfriend? Huh?
The team has worked hard to keep the college rock scene as real as possible, though they could have gone with a less adolescent name for the band than Magik (what were they thinking?!?). Anyhow, Remo’s choreography ensures that the actors look like rockers on stage. Strangely though, the crowd in Pichle Saat Dinon Mein sing amazingly well when the mic is turned to them. Also, when did college crowds so enthusiastically cheer a band? Last I remember from my days, every band was religious boo-ed until they proved their mettle. I think it would have great if they had recorded a real crowd trying to sing with them.
Music by Shankar Ehsaan Loy is good, no doubt. But it sure isn't going to appeal to die-hard rock fans. It’s way too mainstream for that. Plenty of electric riffs don’t make rock, guys. But that said, the music by itself (I mean without thinking of it as the product of true-blood rockers) is foot-tap worthy. Loved Farhan’s crooning Tum ho to, though Javed Akhtar’s lyrics just don’t seem ‘rock’ enough. It great, however, that all the guys sing their own songs.
Arjun Rampal greatly suits the aging hippy-biker look he wears in the movie. In fact all (minus Luke - who looks positively blind in his shades) do phull justice to their roles. Must mention: Purab’s go at the drums in the end is pretty good.
Farhan of course looks the best - on stage and off. He combines coolness and intensity so well, he’s sure to be Bollywood’s next teen heart throb.
I doubt this movie is going to produce/ encourage any sort of a rock culture. Nor is it any ‘coming of age’ kind movie, like they claim it to be. It has no depth for that. What it might is produce a million wannabes who’ll abuse rock motifs for that rebel look.
Rating: 3 stars.
Saturday, August 23, 2008
Mumbai Meri Jaan
Cast: K K Menon, Paresh Rawal, Soha Ali Khan, Irrfan Khan, R Madhavan
Direction: Nishikant Kamat
There is no running away from terror these days. Nor can there be any from the paranoia and prejudices it leaves in its wake. Mumbai Meri Jaan, is less about the bomb than it is about what it leaves in its aftermath - fear, loss and reinforcement of dangerous stereotyping. It’s a story about survivors.
The story follows seven days in five Mumbaikars' lives - one a TV journalist (Soha) of a sensationalist news channel, a tea vendor (Irrfan) living outside the peripheral vision of the upwardly mobile, Nikhil (R Madhavan) a corporate with a social conscience, a small-time businessman Suresh (K K Menon) biased against Muslims and a seasoned constable Tukaram Patil (Paresh Rawal) who mentors a frustrated rookie on how to survive in the police force.
The movie examines Mumbai after the bomb rips open the comforting lid of normalcy, to expose Mumbai’s good, bad and resilent.
Madhavan’s portrayal of a man, who lectures a street vendor over the use of plastic but who lies immobile in the actual hour for action, shows us how easily one’s principles can crumble in the event of reality hitting too close home.
While trading sensitivity for sensationalism is taken by some reporters as their birthright, Soha finds out what that might feel like, when the voyeuristic camera is turned on her.
However, Soha’s discovery of her fiancee’s body did not really hit home. I blame the screenplay here. There was no need to create a great visual (Soha’s face in the crack of the door) at the expense of the horror of the revelation.
Suresh (Menon), who is yet to land himself a profitable contract, spends time with his friends at a coffee shop, passing judgement on the world around him. In his obsession with stalking a particular Muslim boy, Suresh finds himself in the unenviable position of lying at the mercy of those with enough power to abuse it.
His change of heart after a conversation with Patil might seem rather fairy-tale-ish but when you think about it - it is his blind terror of police brutality and subsequent disbelief at being let off that sows the seeds of change. I doubt he was actually listening to Paresh Rawal’s monologue, perhaps thinking it as some twisted prelude to his getting beaten up.
What I enjoyed most was the morning after, when he wakes up to his father’s non-stop sermons on good-versus-evil wars - the subtle brainwashing we all have encountered in our houses. Well done!
Irrfan’s Thomas is all our collective discrimination coming back to haunt us. Yes, it is a consumerist world and so the bourgeoisie gets to enjoy several privileges it takes for granted. But its non-inclusiveness leaves Thomas stung and hate-filled.
Whether intended or otherwise, it’s in Tukaram Patil that one sees the true face of Mumbai. He has seen enough of the ‘system’ not to expect any fairness from it, but still never fails to recognise goodness when he sees it. His cynicism laces with humour belies his deep disappointment at his own choices.
His idealistic partner’s horror at how life moves on (people having a good time on the night of the bomb blast) was a superb scripting product.
The movie might have been India’s Crash if it had balance the prejudices of one community with some counter-stereotype. The director’s over-enthusiastic painting of minorities as victims of misunderstandings rings of hyperbole in the absence of that balance, not because it isn’t true.
Kudos to K K for reining in the director’s over-zealous attempts. He gives in a restrained performance without falling bait to the drama of the screenplay. That’s harder than it seems, btw.
A movie cannot be classified without judging its end. If it ends positively, especially unrealistically so, it is intended to be moralistic, preachy, with a set solution to the problem it wishes to address.
If it ends on a ‘so that's-that’ note, it is intended to be an unbiased portrayal of reality, without passing any judgement.
MMJ had me confused for it did not clearly fall into either category immediately. Sure, KK figuring out his follies is wrapping a heavy problem hastily. But that was inevitable; this is cinema after all. Which director wouldn't exploit the medium to present a ‘what-if-this-happened’ scenario?
So it was on Nikhil’s plans to leave to the US and on Soha’s TV appearance about her fiancee’s death that I had placed my money. Cinema allows you to play with situations, not reactions. That must be real. If Nihkil left to the US and Soha made the appearance as per her editor’s script, then the movie would be closer-to-reality stuff.
Else it would belong to the and-they-lived-happily-ever-after genre.
Now MMJ doesn’t explicitly show Nikhil change his mind about US, but it is implied (he figures he wouldn’t be much safer in US after 9/11). And Soha is unable to go through with the interview as she keeps breaking down. Still, her footage of trying to speak in front of the camera is used by the channel in a manner most vulgar (a la Aaj-Tak), by drumming up a deeply personal issue.
So perhaps MMJ does have a ‘positive ending’. But it is hard to hold this against Nishikant.
If I had to rate it, I’d give it 4 stars.
Good stuff.
Direction: Nishikant Kamat
There is no running away from terror these days. Nor can there be any from the paranoia and prejudices it leaves in its wake. Mumbai Meri Jaan, is less about the bomb than it is about what it leaves in its aftermath - fear, loss and reinforcement of dangerous stereotyping. It’s a story about survivors.
The story follows seven days in five Mumbaikars' lives - one a TV journalist (Soha) of a sensationalist news channel, a tea vendor (Irrfan) living outside the peripheral vision of the upwardly mobile, Nikhil (R Madhavan) a corporate with a social conscience, a small-time businessman Suresh (K K Menon) biased against Muslims and a seasoned constable Tukaram Patil (Paresh Rawal) who mentors a frustrated rookie on how to survive in the police force.
The movie examines Mumbai after the bomb rips open the comforting lid of normalcy, to expose Mumbai’s good, bad and resilent.
Madhavan’s portrayal of a man, who lectures a street vendor over the use of plastic but who lies immobile in the actual hour for action, shows us how easily one’s principles can crumble in the event of reality hitting too close home.
While trading sensitivity for sensationalism is taken by some reporters as their birthright, Soha finds out what that might feel like, when the voyeuristic camera is turned on her.
However, Soha’s discovery of her fiancee’s body did not really hit home. I blame the screenplay here. There was no need to create a great visual (Soha’s face in the crack of the door) at the expense of the horror of the revelation.
Suresh (Menon), who is yet to land himself a profitable contract, spends time with his friends at a coffee shop, passing judgement on the world around him. In his obsession with stalking a particular Muslim boy, Suresh finds himself in the unenviable position of lying at the mercy of those with enough power to abuse it.
His change of heart after a conversation with Patil might seem rather fairy-tale-ish but when you think about it - it is his blind terror of police brutality and subsequent disbelief at being let off that sows the seeds of change. I doubt he was actually listening to Paresh Rawal’s monologue, perhaps thinking it as some twisted prelude to his getting beaten up.
What I enjoyed most was the morning after, when he wakes up to his father’s non-stop sermons on good-versus-evil wars - the subtle brainwashing we all have encountered in our houses. Well done!
Irrfan’s Thomas is all our collective discrimination coming back to haunt us. Yes, it is a consumerist world and so the bourgeoisie gets to enjoy several privileges it takes for granted. But its non-inclusiveness leaves Thomas stung and hate-filled.
Whether intended or otherwise, it’s in Tukaram Patil that one sees the true face of Mumbai. He has seen enough of the ‘system’ not to expect any fairness from it, but still never fails to recognise goodness when he sees it. His cynicism laces with humour belies his deep disappointment at his own choices.
His idealistic partner’s horror at how life moves on (people having a good time on the night of the bomb blast) was a superb scripting product.
The movie might have been India’s Crash if it had balance the prejudices of one community with some counter-stereotype. The director’s over-enthusiastic painting of minorities as victims of misunderstandings rings of hyperbole in the absence of that balance, not because it isn’t true.
Kudos to K K for reining in the director’s over-zealous attempts. He gives in a restrained performance without falling bait to the drama of the screenplay. That’s harder than it seems, btw.
A movie cannot be classified without judging its end. If it ends positively, especially unrealistically so, it is intended to be moralistic, preachy, with a set solution to the problem it wishes to address.
If it ends on a ‘so that's-that’ note, it is intended to be an unbiased portrayal of reality, without passing any judgement.
MMJ had me confused for it did not clearly fall into either category immediately. Sure, KK figuring out his follies is wrapping a heavy problem hastily. But that was inevitable; this is cinema after all. Which director wouldn't exploit the medium to present a ‘what-if-this-happened’ scenario?
So it was on Nikhil’s plans to leave to the US and on Soha’s TV appearance about her fiancee’s death that I had placed my money. Cinema allows you to play with situations, not reactions. That must be real. If Nihkil left to the US and Soha made the appearance as per her editor’s script, then the movie would be closer-to-reality stuff.
Else it would belong to the and-they-lived-happily-ever-after genre.
Now MMJ doesn’t explicitly show Nikhil change his mind about US, but it is implied (he figures he wouldn’t be much safer in US after 9/11). And Soha is unable to go through with the interview as she keeps breaking down. Still, her footage of trying to speak in front of the camera is used by the channel in a manner most vulgar (a la Aaj-Tak), by drumming up a deeply personal issue.
So perhaps MMJ does have a ‘positive ending’. But it is hard to hold this against Nishikant.
If I had to rate it, I’d give it 4 stars.
Good stuff.
Saturday, August 16, 2008
The Dark Knight
Cast: Christian Bale, Aaron Eckhart, Heath Ledger
Direction: Christopher Nolan
It’s easy to see why most people would avoid movies based on superheros; because of that inevitable, hackneyed good over evil war. And it’s easy to see why most people would still want to watch The Dark Knight; because in a Batman movie there is just no telling how the war will end.
I haven't seen Batman Begins, but from what I read up on the net, the darkness was all there too. The Dark Knight has retained all the elements that made the first a box office hit and then added some more. Based on the DC comic series that introduced Joker and Two-Face, the movie gives Batman a new suit, the much hyped bike, Batpod, and a new set of difficult decisions to take.
What sets Batman apart from other superheros is that he in fact has no super powers! And the Nolan brothers (who penned the screenplay) exploit this to the fullest, giving us an intelligent, yet vulnerable and angst-ridden Bruce Wayne, who must sacrifice his own interests for the safety of Gotham’s denizens.
Perhaps the District Attorney’s transformation into Two-Face could do with better justification. But Aaron Eckhart is just amazing in his role. Compared to his earlier, Thank You For Smoking, in which he is an unapologetic bastard, this one was the idealist who changes when the love of his life dies. What I loved espically about his character was the coin. The coin which had both sides the same represented a Harvery Dent who was inside out the same good person. But soon after Rachel's death one side darkens. And so now when he poses questions to his coin, he genuinely has no clue what the answer will be.
Still, Nolan’s genius as director is undeniable in the racy action sequences, macabre violence minus graphic detailing and in subtly letting Batman’s character take over Bruce, until you don’t need to see a batsuit to feel like rescue is at hand. Awesome is also the play with music. There is the batman theme when piano and drums, creating the sense of impeding doom. But also there is silence. And that silence plays with you, like no music can. If you've seen the movie, you will certainly remember when Joker's 16-wheeler topples; or when Batman swoops across the skycaper skyline of Hong Kong. Thoses moments truly make the movie a legend even before its time.
But mostly the movie will be noted for an unforgettable and, paradoxically, heroic interpretation of the anti-hero Joker. Heath Ledger, with his running mascara highlighting the crevices of his painted face, plays the sinister ‘clown’ whose mocking one-liners (‘Why so serious?’) will have you cowering in your seat. In a performance, that will unfortunately come to be known as his last, Ledger keeps from portraying Joker as a caricature and instead gives us a chilling, anarchist villain, reminiscent of Alex from A Clockwork Orange; that same desire for chaos and violence accompanied by a cunning and intelligence.
Equally memorable are Michael Cain's lines about the real hero; unforgettable lines those are ('Because he can do it'). Heath Ledger's "Either you die a hero, and live long enough to become the villian' and Batman's own response to it, to willing be seen as the villian are just some of the grandest moments of cinema.
And finally a word about the graphics used: Brilliant!
It would be wrong to assume that the movie is only for comic lovers. Though, by the end of it, you might just find yourself a convert.
Thank you guys, the pleasure was all mine.
Direction: Christopher Nolan
It’s easy to see why most people would avoid movies based on superheros; because of that inevitable, hackneyed good over evil war. And it’s easy to see why most people would still want to watch The Dark Knight; because in a Batman movie there is just no telling how the war will end.
I haven't seen Batman Begins, but from what I read up on the net, the darkness was all there too. The Dark Knight has retained all the elements that made the first a box office hit and then added some more. Based on the DC comic series that introduced Joker and Two-Face, the movie gives Batman a new suit, the much hyped bike, Batpod, and a new set of difficult decisions to take.
What sets Batman apart from other superheros is that he in fact has no super powers! And the Nolan brothers (who penned the screenplay) exploit this to the fullest, giving us an intelligent, yet vulnerable and angst-ridden Bruce Wayne, who must sacrifice his own interests for the safety of Gotham’s denizens.
Perhaps the District Attorney’s transformation into Two-Face could do with better justification. But Aaron Eckhart is just amazing in his role. Compared to his earlier, Thank You For Smoking, in which he is an unapologetic bastard, this one was the idealist who changes when the love of his life dies. What I loved espically about his character was the coin. The coin which had both sides the same represented a Harvery Dent who was inside out the same good person. But soon after Rachel's death one side darkens. And so now when he poses questions to his coin, he genuinely has no clue what the answer will be.
Still, Nolan’s genius as director is undeniable in the racy action sequences, macabre violence minus graphic detailing and in subtly letting Batman’s character take over Bruce, until you don’t need to see a batsuit to feel like rescue is at hand. Awesome is also the play with music. There is the batman theme when piano and drums, creating the sense of impeding doom. But also there is silence. And that silence plays with you, like no music can. If you've seen the movie, you will certainly remember when Joker's 16-wheeler topples; or when Batman swoops across the skycaper skyline of Hong Kong. Thoses moments truly make the movie a legend even before its time.
But mostly the movie will be noted for an unforgettable and, paradoxically, heroic interpretation of the anti-hero Joker. Heath Ledger, with his running mascara highlighting the crevices of his painted face, plays the sinister ‘clown’ whose mocking one-liners (‘Why so serious?’) will have you cowering in your seat. In a performance, that will unfortunately come to be known as his last, Ledger keeps from portraying Joker as a caricature and instead gives us a chilling, anarchist villain, reminiscent of Alex from A Clockwork Orange; that same desire for chaos and violence accompanied by a cunning and intelligence.
Equally memorable are Michael Cain's lines about the real hero; unforgettable lines those are ('Because he can do it'). Heath Ledger's "Either you die a hero, and live long enough to become the villian' and Batman's own response to it, to willing be seen as the villian are just some of the grandest moments of cinema.
And finally a word about the graphics used: Brilliant!
It would be wrong to assume that the movie is only for comic lovers. Though, by the end of it, you might just find yourself a convert.
Thank you guys, the pleasure was all mine.
Friday, May 16, 2008
The Chronicles of Narnia: Prince Caspian
Cast: Ben Barnes, Georgie Henley, William Moseley, Peter Dinklage
Director: Andrew Adamson
Three years after the first Chronicles… was released, comes part II – Prince Caspian. Shot in the brilliant locales of New Zealand, the movie opens to a murder attempt on Prince Caspian, true heir to the Telmarines’ throne, by his ambitious uncle. Having earlier killed his father, King Capian the IX, Uncle Miraz hopes to secure the crown for his newborn son. His plans are foiled, however, with the Prince escaping to the wild forests, where live the last of the surviving Narnians.
Desperate for help the Prince blows the magical horn that will bring back kings and queens of the past, namely the four Pevensie siblings, once more to the magical land of Narnia.
It has been 1300 years since Peter, Susan, Edmund and Lucy left Narnia, though it’s been little more than a year in their ‘other’ world. During the centuries in between the magical creatures have suffered heavily at the hands of the Telmarines, having been left ruler-less by both the children and Aslan, the lion.
Summoned by the horn the Pevensies now set out to reinstate Telmarine to its rightful owner, the brooding Prince, who, unlike his ancestors, fights on the side of Narnia.
The cinematography and composition of various shots will sustain your interest more than will the plot. There isn’t much by way of suspense here and the lack of emphasis on magic, so abundant in part I, is sorely missed. The climax, with its pounding hoofs, rising score and animal war cries seems rather influenced by The Lord of the Rings trilogy, though to poorer effect.
The animation is probably where this movie scores over its predecessor. Be it the adorable and swashbuckling mouse Reepicheep or the river god, real actors and graphics occupy the screen in convincing harmony. Adamson (as director and co-writer of screenplay) has tried hard to infuse the script with urban humour. And it works to some extent, with Dinklage’s comic timing and Eddie Izzard as Reepicheep providing the occasional laugh.
Maybe it is just a case of overkill. We’ve had several visits from parallel worlds this season with Horton Hears a Who, The Spiderwick Chronicles, Bhootnath and The Water Horse. Unaided by the novelty and the curiosity factor that drew crowds to the first Chronicle, this one will find itself tested more on its story, screenplay and performances. And on those counts, the sequel scores an average, one-time-watch only.
Cast: Ben Barnes, Georgie Henley, William Moseley, Peter Dinklage
Director: Andrew Adamson
Three years after the first Chronicles… was released, comes part II – Prince Caspian. Shot in the brilliant locales of New Zealand, the movie opens to a murder attempt on Prince Caspian, true heir to the Telmarines’ throne, by his ambitious uncle. Having earlier killed his father, King Capian the IX, Uncle Miraz hopes to secure the crown for his newborn son. His plans are foiled, however, with the Prince escaping to the wild forests, where live the last of the surviving Narnians.
Desperate for help the Prince blows the magical horn that will bring back kings and queens of the past, namely the four Pevensie siblings, once more to the magical land of Narnia.
It has been 1300 years since Peter, Susan, Edmund and Lucy left Narnia, though it’s been little more than a year in their ‘other’ world. During the centuries in between the magical creatures have suffered heavily at the hands of the Telmarines, having been left ruler-less by both the children and Aslan, the lion.
Summoned by the horn the Pevensies now set out to reinstate Telmarine to its rightful owner, the brooding Prince, who, unlike his ancestors, fights on the side of Narnia.
The cinematography and composition of various shots will sustain your interest more than will the plot. There isn’t much by way of suspense here and the lack of emphasis on magic, so abundant in part I, is sorely missed. The climax, with its pounding hoofs, rising score and animal war cries seems rather influenced by The Lord of the Rings trilogy, though to poorer effect.
The animation is probably where this movie scores over its predecessor. Be it the adorable and swashbuckling mouse Reepicheep or the river god, real actors and graphics occupy the screen in convincing harmony. Adamson (as director and co-writer of screenplay) has tried hard to infuse the script with urban humour. And it works to some extent, with Dinklage’s comic timing and Eddie Izzard as Reepicheep providing the occasional laugh.
Maybe it is just a case of overkill. We’ve had several visits from parallel worlds this season with Horton Hears a Who, The Spiderwick Chronicles, Bhootnath and The Water Horse. Unaided by the novelty and the curiosity factor that drew crowds to the first Chronicle, this one will find itself tested more on its story, screenplay and performances. And on those counts, the sequel scores an average, one-time-watch only.
Friday, April 18, 2008
Shaurya
Hindi
Duration: 2.5hrs
Cast: Rahul Bose, Javed Jaffery, KK Menon, Minissha Lamba
The thought I went, shaking my head, away with was: WHY THE RIP? WHY DID THEY HAVE TO LIFT THE ENTIRE STORYLINE FROM Few Good Men? If the idea was to show religious bigotry in the army, a million others ways could have been devised, surely?
Anyway lift Samar Khan does (once again.. the first time being Kuch Meta Ho Gaye) but not completely.
Rahul Bose plays the very urbanised suave, Siddhanth, given the task of defending Captain Javed Khan. The stiff, with a rod-up-his- Javed is accused of killing his senior point blank. Javed Jaffery plays the play-by-the-book Akash aka AK prosecution. The two go way back, and much time is spent in establishing this. Sigh.
The first half of the movie is sure to tickle the multiplex audience, but post interval the movie falls flat. Samar is clearly not comfortable with directing high drama court scenes (except for the climax which had to be in the court). In fact there is this shot of Rahul walking down a corridor, black coolers and all, with various voice overs suggesting court scenes (Objection! I'd like to call on witness... so on so forth). That is the way Samar shows you that the court case is, in fact, progressing. It seems he rather spend the time going over 'relevant' scenes of Seema Biwas (defendant's mom) wiping photo frames blank-faced and Sid getting AK and his babe married off. WTF only.
KK is deliciously wicked. As Brigadier Pratap he is convincingly cool-blooded. His power house performance is probably what saves the day.
Javed Jaffery puts life into the chemistry between him and Rahul. His is a restrained performance that scores full points on my scale. But adds little to the movie over all.
Minisha is perfect for the part Samar casted her for. Roll eyes, and screech when required. Her is a role that could have been chopped off, but can it still be Bollywood without a love angle?
Rahul Bose, who never scores high on my scale, comes off better this time. Though his trademark eye-bulging still gets on my nerves :( His whole transformation as the man who is initially disinterested in the case and then gets involved very deep is not at all convincing. All that Samar does to show the change is get him to jog with sweat pouring down his well-chiseled body and.. you guessed it... VOICE OVERS! Stop taking shortcuts Samar! Make us feel the change with the character ok? Atleast TRY!
Over all.. ** and a 1/2 out of 5. With a cast like what he had, who could he go so wrong? Disappointing.
Duration: 2.5hrs
Cast: Rahul Bose, Javed Jaffery, KK Menon, Minissha Lamba
The thought I went, shaking my head, away with was: WHY THE RIP? WHY DID THEY HAVE TO LIFT THE ENTIRE STORYLINE FROM Few Good Men? If the idea was to show religious bigotry in the army, a million others ways could have been devised, surely?
Anyway lift Samar Khan does (once again.. the first time being Kuch Meta Ho Gaye) but not completely.
Rahul Bose plays the very urbanised suave, Siddhanth, given the task of defending Captain Javed Khan. The stiff, with a rod-up-his- Javed is accused of killing his senior point blank. Javed Jaffery plays the play-by-the-book Akash aka AK prosecution. The two go way back, and much time is spent in establishing this. Sigh.
The first half of the movie is sure to tickle the multiplex audience, but post interval the movie falls flat. Samar is clearly not comfortable with directing high drama court scenes (except for the climax which had to be in the court). In fact there is this shot of Rahul walking down a corridor, black coolers and all, with various voice overs suggesting court scenes (Objection! I'd like to call on witness... so on so forth). That is the way Samar shows you that the court case is, in fact, progressing. It seems he rather spend the time going over 'relevant' scenes of Seema Biwas (defendant's mom) wiping photo frames blank-faced and Sid getting AK and his babe married off. WTF only.
KK is deliciously wicked. As Brigadier Pratap he is convincingly cool-blooded. His power house performance is probably what saves the day.
Javed Jaffery puts life into the chemistry between him and Rahul. His is a restrained performance that scores full points on my scale. But adds little to the movie over all.
Minisha is perfect for the part Samar casted her for. Roll eyes, and screech when required. Her is a role that could have been chopped off, but can it still be Bollywood without a love angle?
Rahul Bose, who never scores high on my scale, comes off better this time. Though his trademark eye-bulging still gets on my nerves :( His whole transformation as the man who is initially disinterested in the case and then gets involved very deep is not at all convincing. All that Samar does to show the change is get him to jog with sweat pouring down his well-chiseled body and.. you guessed it... VOICE OVERS! Stop taking shortcuts Samar! Make us feel the change with the character ok? Atleast TRY!
Over all.. ** and a 1/2 out of 5. With a cast like what he had, who could he go so wrong? Disappointing.
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