Monthly Archives: January 2015

REVIEW-DOLLY KI DOLI

Courtesy: Wikipedia
Courtesy: Wikipedia

I was speechless after watching this film and didn’t know how to react. I never thought I’d feel  like this after watching a Hindi film because only Christopher Nolan has the capability to make you go into a completely different world-that trance.
Hats Off Arbaaz Khan Productions-Giving a chance to people like Abhishek Dogra and Umashankar Singh would require a lot of courage and conviction, glad to see that you had both.

Keeping all the aspects of filmmaking in mind, here’s what I thought of this gem:

STORY & SCREENPLAY:
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^I’m wondering how the bound script looked like.

DIALOGUES:
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Max to max 3 good dialogues. ^WHY would you do that?

CINEMATOGRAPHY:

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^Nothing special!

EDITING:
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^Enough said.

MUSIC:
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^Fashion Khattam-Khattam Mujhpe, lol.

Though there’s one song I really loved and that’s just because of Rahat Fateh Ali Khan’s vocals. A true maestro!

DIRECTION AND PERFORMANCES (EXCLUDING RAJKUMMAR RAO):
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^Exactly my reaction!

RAJKUMMAR RAO:

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If you really want to watch this film, watch it solely for this man, he’s the only good part about DKD. And yes, that’s for you Rajkummar^

RATING:

toonvectors-22301-140 This star is just for Rajkummar, you deserve much better films.

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BoyHood-A Nostalgic Experience

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Richard Linklater’s BoyHood is such an endearing piece of art that you can’t help but praise this film. Shot for over 11 years with the same cast, it seemed like a documentary, even though it wasn’t. It’s a film that could’ve gone either ways, but I suppose the conviction and hard-work was such that it went towards the right direction.
The film itself is like a little baby who transformed in front of my eyes.
Linklater captures all the moments so beautifully that I was completely drawn into Mason’s world and because he gave so much of time to his characters and those little-little moments, he had me all nostalgic.
BoyHood is a piece of everyone’s life. At one point of the film, I started to believe that I know these people who’re in front of me. I know why Mason’s so confused, I know why Olivia (his mother) freaks out so much and what’s her dilemma, I know what’s his sister Samantha’s mind-state when she doesn’t pick her brother up from school. With every moment of the film, I had a certain reaction-I would smile like an idiot when the younger Mason would pursue a lingerie magazine with his friend and chuckle about the pictures or when an irritated young Mason gets a forceful haircut and is made fun of, until a girl from his class tells him that his new hairdo looked ‘kewl,’ and he smiled.
I would laugh looking at the siblings fight and tease each other, but feel for the mother at the same time, as she gets tossed between her two children and a broken marriage. The emotions were relatable, the crux was real and that’s why BoyHood is such an exceptional film. Looking at all those different phases of Mason’s life, I could go back to mine and realise what was wrong /what was right. The marijuana and hook up phase, the falling in love phase, the ‘I’m so confused’ phase and the break-up phase, almost everyone goes through the same thing. But the point is, we’re so engrossed in the future that we forget to live the moment, we forget the beauty of today, the beauty of right now. That’s what Linklater shows, that’s why the film grew on me and I didn’t have appropriate words to describe how I really felt. It was an emotional experience, more than anything else. It was so human.

When he’s leaving for college and refuses to take the first picture he’d clicked, his mother breaks down in distress, realising that time flew by, as both her kids were in college and soon they’d be living their own separate lives. She was petrified by the fact that all these years she lived for her children, she lived the life of a mother and today, when both of them were gone, the next important thing in her life was her funeral. Yes, that’s what time does to you. It was such a tearjerking moment that I had no control over my tears. I felt for my mother, who’s done so much for me and my younger brother, but since we’re so much into the future and always wondering what next, we forget how important and special every moment is. Even though BoyHood is about Mason and his journey to adulthood, it also quite considerately speaks about the struggle of a mother to raise her children.
It’s so beautiful that it pierces through your soul and leaves you mesmeric.

Had to mention this separately: Ellar Coltrane is phenomenal, especially after he enters his teens, he adapted the character to perfection. Mason is Ellar, Ellar is Mason.

Patricia Arquette, as Mason’s mother Olivia catches the nuances so beautifully that all her emotions stayed with me-Love, Confusion and Anguish.

BoyHood might have changed me as a person, though I’m still quite unsure. But the fact that it made me unsure, is enough to tell you what a masterpiece it really is and that too, by a filmmaking virtuoso-Richard Linklater.

A Letter To Some Stupid People Who Create Award Functions

To these stupid people who create unnecessary award functions to insult the art of filmmaking,

Stardust Awards 2014: List of some truly ‘deserving’ winners (Pun Intended):
Star of the year (Male): Shah Rukh Khan
Star of the year (Female): Deepika Padukone
Best film: Happy New Year
Dream director: Farah Khan (Happy New Year)
Film of the year: Gauri Khan (Happy New Year)
Breakthrough performance in supporting role (Male): Siddharth Shukla (Humpty Sharma Ki Dulhania)
Best supporting actor: Govinda (Kill Dil|)
Best actor in a negative role: Sonu Sood (Entertainment)
Best Actor for Thriller/Action: Shah Rukh Khan (for Happy New Year)
Best playback singer (Male): Yo! Yo! Honey Singh
Best music: Yaariyan

We don’t have award functions over here, we have an auction in the name of awards. Why cheat the industry you’re in? Why fool the people who make you what you really are? Why insult cinema just for the sake of money? Agreed, Shah Rukh Khan is one of the biggest superstars we have, but it is high time we realise that over-the-top masala films DON’T deserve any awards. The only thing that’s good about them to a certain extent-The music, cinematography and marketing!
Why fuck with the people who contribute so much to cinema and mesmerise the audience with their work? Deepika Padukone deserved every damn award last year, but for Yeh Jawaani Hai Deewani or probably Goliyon Ki Raasleela: Ram-Leela, she got it for Chennai Express and this year again, for Happy New Year? I mean, seriously? When quite clearly this year it was Kangana Ranaut who stole the hearts of a billion people, be it critics or the audience.
Ok, if she’s not a ‘star’ according to you, then Alia Bhatt deserved every bit of this award, after Kangana. I know you wouldn’t have rewarded her for Highway, which was probably the best performance by a female in a long-long time, but she did have huge commercial hits like 2 States and Humpty Sharma Ki Dulhania in her kitty and those films worked because of her. Then why diss her like that? And Shah Rukh for Happy New Year? Abhishek Bachchan had more screen space in that film and was the only one who was bearable, lol. Shahid Kapoor is a star and undoubtedly, he deserved all the awards this year. Be it-Critics Choice or Audience. Dream director-Farah Khan? She knows shit about filmmaking and on the contrary, she’s a nightmare for aspiring filmmakers like me. This award was Vishal Bhardwaj’s or even Imtiaz Ali. Yes, we ENVY them!

If Happy New Year was the best film of 2014, then what about Queen, Haider, Highway and Aankhon Dekhi? No words, seriously.
Breakthrough performance in a supporting role male-Siddharth Shukla, just because he worked for Colors? That man hardly had three scenes in the film, if this award was probably given to the guys who played Poplu and Shonty in Humpty Sharma, it still would have been believable.They deserved it more than him. I still don’t get the difference between breakthrough performance in a supporting role and best supporting actor, awards hain ya prasad?

Govinda is one of the best actors we’ve had but rewarding him for Kill Dill/Happy Ending really made no sense. He was ignored when he did brilliant films, but when he does a below average film, you tend to acknowledge him. Strange!
The funniest one-Sonu Sood, best villain for Entertainment? I rest my case.
Best actor in an action/thriller film, Shah Rukh Khan, again-Why? Just why?
Wonder why wasn’t Siddharth Malhotra considered.
THE WEIRDEST ONE- YOYO HONEY SINGH? Best singer? Did he cum on your face to get this award? Stupidly ignored this magician called Arijit Singh or even Mohammed Irfan or Ankit Tiwari? And Yaariyan’s music was better than 2 States, Ek Villain and Queen? Really? Hats off.

Quite smartly, to make up for the deserving candidates, these people created various small categories which to be honest didn’t even get much attention, to acknowledge people like Shahid Kapoor, Randeep Hooda, Alia Bhatt, Kangana Ranaut, Tabu, Vikas Bahl and Huma Qureshi. It’s really shameful. Corruption everywhere, money minded people everywhere.

Creative people can never get the respect they deserve, especially in this country. National Awards, please come soon.

-A frustrated aspiring filmmaker and a film enthusiast.

REVIEW- UGLY

Courtesy- Wikipedia
Courtesy- Wikipedia

Some films just affect you so much that you’re mentally unable to get out of them and Anurag Kashyap’s UGLY is one such masterpiece. 

Kashyap’s known for his crime, drama, neo-noir & psychological thrillers that have changed the dimension of Indian cinema over the past few years. He’s one of the few filmmakers who believe in staying true to their story. Some of his films haven’t seen the light of the day, whereas some have never seen the box office numbers. Even then, this man has never compromised on his scripts. His latest venture UGLY would nauseate you, but at the same time you’ll go home wondering how brilliant a filmmaker Kashyap is. It’s a simple film filled with too many complications and twists along with confusion, guilt, disgust and shock, all thanks to the insecurities and selfish traits of the beings involved in those situations.

Rahul (Rahul Bhat) is an aspiring actor who’s been struggling to make it big since a long time now and in between this journey his marriage broke off. So as per the custody agreement, he’s only allowed to meet his 10-year-old daughter Kali (Anshika Shrivastava) on Saturdays. One fine Saturday, when Rahul and Kali go out to spend some time together, he stops by his casting agent Chaitanya’s (Vineet Kumar Singh) place, to probably grab a script and asks Kali to stay in the car till he’s back, later realising that she’s nowhere to be seen. And the story spreads out.

As soon as this happens, as viewers you’ll try to predict what’s going to happen next, but it’s an Anurag Kashyap film, he’s never going to give you the easy way out. We’re then introduced to a number of characters who are equally important till the very end. Shalini (Tejaswini Kolhapure), Rahul’s ex wife and Kali’s mother, followed by Shoumik Bose (Ronit Roy), Shalini’s second husband and Rahul’s rival from college. Siddhant (Siddhant Kapoor), Shalini’s useless brother and inspector Jadhav (Girish Kulkarni), who rather than lodging a complaint of a missing child was more interested in knowing why actors changed their names to come into the industry or how Kali’s phone showed Rahul’s picture whenever he called her up. As the search begins and characters begin to unfold with the help of flashbacks, you won’t be able to predict who did what and how it’s just a vicious circle in the end.

Almost everything is perfect about this film, but the first applaud would undoubtedly go to Mr.Kashyap for once again creating something like this. I still can’t believe he wrote this in seven days-what a genius. It’s actually commendable to see him implement his writing with this perfection. Right from suspense to dark humour to the nerve-wracking end, he’s hit the right chord every single time. The camerawork is impressive, the background score by Brian McOmber is breathtaking and Aarti Bajaj’s brainy editing too deserves great accolades.
UGLY wouldn’t have been ‘THIS’ effective, if the casting wouldn’t have been perfect. And once again, Mukesh Chhabra’s bang on. From Anshika Shrivastava, the 10-year-old daughter to the sub inspectors, Chhabra has done wonders. Rahul Bhat, Tejaswini Kolhapure, Ronit Roy, Vineet Singh and Girish Kulkarni compliment the script so well that you can’t even imagine anyone else in this film apart from them. It would seem like a documentary if you wouldn’t know it’s a feature film, they’re that intriguing and good. They’ve all been given their screen-space and they’ve all got their moments in which they’ve excelled.

There are a few scenes where you’ll laugh your guts out and that’s because of the brilliance of the actors. Those scenes wouldn’t have been funny if the pitching of the actors wouldn’t have been spot on.
Highlight: A scene where Kulkarni croons verses of an item song and the way Roy responds to that-with a straight face, that’s sheer timing and that’s exactly what brings out the humour.

Overall, UGLY is not entirely about the kidnap, it’s about the ugliness present within people and how insensitive, ignorant, inhuman and disgusting they’ve become.
There are moments in the film where you’ll wonder what’s going on and you’ll be flooded with questions like:
Why isn’t this girl’s mother worried about her daughter? Why the hell is she thinking about her marital life right now? Why did this girl’s Mama (Uncle) make a ransom call? Did he kidnap her? Why is her biological father busy sleeping with this other woman (Rakhee, played by Suvreen Chawla), who’s also making a ransom call?
Why is this Rahul busy worrying about his face rather than being worried about his fucking daughter?
Everything’s going to confuse you till the very end-you’ll presume and try to guess who the kidnapper was, but you won’t be able to do that because the end is heartbreaking and grievous. It’ll make everyone realise, how ignoring your responsibilities and your own children can be a big threat. Though there are a few dull moments in the film, including Surveen Chawla’s character line , Siddhant Kapoor’s angle and the jewellery shop robbery, but the end’s going to tremble your heart and you’ll go home questioning yourself-
How sometimes we become so selfish that we tend to let go off the most important things in life, even though it’s nowhere related to us. This is Anurag Kashyap’s best since ‘Black Friday,’ watch it at any cost, it’s a mirror for all of us.
Lastly, this one song called ‘Papa‘ sung by Shilpa Rao will move you to tears and especially because of the visuals(Film version)-Goosebumps.

RATING:
4 stars

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