Analysing films

The much awaited, much talked, much discussed and much deliberated Gangs of Wasseypur (GOW), had me scrambling to the nearest cinema hall, of course not for a first day first show, but in these days of multiplex terminology, weekend show. Some movies much before their release grabs all the attention, either for the director's repertoire, or for an unusual reason (like a Sunny Leone and Jism 2) or for a remake or a sequel (Agneepath, Jannat 2 etc.). This one grabbed for the director and for the plot that he decided to choose. And probably more than the plot the setting of the movie. We have had Kala Pathaar in the past, but trust Anurag and his team to get more into the realistic mode and portray the region in it's harsh, unforgiving and a little sleepy coal belt of India. Though the opening credits clearly states the film was not shot at actual location, Wasseypur. What Anurag has done (I thought that was secondary) with the movie, focused too much on the treatment, the st

Ferrari Ki Sawari's ride was a smooth one true to it's brand name, but part bumpy because of Vidhu Vinod Chopra (VVC) and his team. It has increasingly become or at least beginning to get clear that this camp business in Bollywood is developing a genre of it's own. The YRF camp, the usual mushy stuff and with loads of feel good, you do have the occasional Chak De (however, with loads of feel good) and then the Karan Johar camp of predictable teeny bopper stuff, the Aamir Khan camp of trying to be serious, hijacking creative director's plot and often Aamir laden dilemma and the recently constituted Anurag Kashyap camp with serious, edgy, issue based (often bordering on reality and virtuality) cinema. In this humdrum, the VVC camp has also been churning out their own brand of cinema. Seriously after Munnabhai the VVC camp has decided to own up this property of "get to the audience's tear gland". It has been working with them, 3 Idiots is an example of th

Racy, pacy and speedy, that's the first three words that comes to my mind, with this unusual film, Bhooter Bhabishyat. Unusual, as it seems, as after Ray (Satyajit) nobody seriously explored the spooky genre in the same way as he did. Hollywood's passion and strong liking towards these genres have had a series of fun, seriously spooky and psychotic thrillers. In India, the Ramsay's were the pioneers in Hindi cinema, but they seemed to swing between something called an attempted horror to a soft sleazy thriller, often tilting on the latter's side. Well let's come back to Bhooter Bhabishyat. Anik Dutta seems firmly in control from start to finish. There is never a moment to loose and a moment to dwell on. You miss it and you are blinked. That is where I thought  the pace of the film seems to be caught in a warp. One would have loved to soak in "moments" more often. For example, a character like Bhutoriya the developer (Mir in his characteristic elements)

Rowdy-ness is in and it is cool. Full on time pass and total paisa vasool. It is a non-stop entertainment from the moment Akshay enters the screen with Paresh Ganatra. Loads of comedy, action and a crisp screenplay. There is a never dull moment and the rapid pace of the film perhaps makes up for it's loose ends here and there. Watching these movies without any baggage is perhaps best. Prabhudeva has improved from his last outing Wanted immensely and that gets reflected in every frame of the film. Akshay excels in both comedy and action, with his double role, Sonakshi does not have to do much, just cavort and pirouette around Akshay and she does that ably. I hope nobody tells her to "act" in her future films. She has never let gone her Dabangg baggage and that it is clear frame after frame. Nassar is always the classical villain and movie after movie he has been doing it with aplomb. The music stands out and Prabhudeva's trademark dance routine with celebrities li

Ishaqzaade (IQZ) indeed is coming off age movie for Yash Raj Films (YRF). Probably not for Indian Cinema. YRF's biography of films, mostly feel good cinema and carrying the morality aspect with so much of noise and brouhaha is indeed a lot of responsibility. In that sense IQZ seems different and the creative license awarded to Habib Faisal the director is truly noticeable. Though one would tend to like Habib's earlier work the wonderful, Do Dooni Chaar, but of course he had Rishi and Neetu as strong casts along with Archit and Aditi as strong characters, that made the film stand apart. IQZ's reason for standing out is the strong screenplay and never does at any point in time goes out of the plot. The sudden tweak at the interval and then the rising hostility between the two families is one long battle that goes on. To me however, the winner is the film location and the strong cinematography. The fictitious town of Almore and it's simmering rift, the political agenda

I know I am late, but I saw this surprise package late. But, GOD I saw it, which is important. This has to be the biggest and the best sleeper hit of the year. The movie belongs to Anu Kapoor, Anu Kapoor, Anu Kapoor and Aayushman. Remember the Editor's role in Mr. India (Anu Kapoor at his delectable best). He doesn't fail. On top form, with crisp acting and never really goes out of the character at any point in time. Hat's off to Shoojit, this has to be the biggest find (what was Anu Kapoor doing all these years, perhaps preparing for this one role). Aaayushman the boisterous and loud Punjabi Munda, stands out. What a debut! You have to give it to him.  However, above all this what stands out, in it's true character, DELHI. Loud, Crass, Pompous, Flashy, Unforgiving, yet providing space to all. It has to be Delhi at it's best. We have had quite a few films where the protagonist or the antagonist is Delhi, this one captures another hue of the city. The classic

Hopes and hopes and hopes, after three immensely successful and redefining movie from Dibakar, you feel cheated. It is a let down indeed. Let's quickly get done first with the sore points. The script was very very good, unfortunately never holds it's characters. For that matter none of the characters stands out. Everyone seems to be making an earnest attempt, however, it is the scope of the character and the screenplay that runs them down. Let's start with Pitobash, since the films starts with him. The character had an element of casualness yet some hint of dilemma that was ethereal to the overall frame, yet in the end we suddenly seem to loose grip of him, even that of Anant Jog, as the driver caught in the trap. Everyone fails, Kalki, Abhay, Supriya and Prosenjit. Prosenjit (Dr. Ahmedi) seems to be in some kind of a war with IBP (the fictitious aspect or party or colony looming around). What is the origin of the war? There are stray references to New York! The whole th