Analysing films

  The brand new show from TVF, Aspirants Pre...Mains...Aur Life debuted about two weeks back on YouTube and their own channel too. Fresh from the success of Panchayat and earlier Kota Factory this one is take on the UPSC aspirants. While Kota Factory was targeted to the parents, aspirants and everybody who spent time in Kota (preparing) this one looks at the civil servant aspirants. As each episode ends the creators kind of converse on the same lines. However, I thought the series is for all of us who are looking to do something in life. And it comes out very clearly in the first episode where one amongst the three protagonist talks to the incoming batch about dedication, patience and perseverance (not necessarily following any order but you have the flexibility to place it accordingly).  I remember when I went to college in 1986, civil services was considered hallowed and was told that the hub of aspirants were in the Western part of the city and the go to coaching college wa...

  Ajeeb Daastaans (AD) much like Lust Stories (which had primarily Lust as the theme) is about dysfunctional relations and relationships which society always looks at with a raised eyebrow or perhaps discusses in hush hush. The four segments are directed by Shashank Khaitan (Majnu), Raj Mehta (Khilona), Neeraj Ghayawan (Geeli Pucchi) and Kayoze Irani (Ankahi). Featuring an ensemble cast from the talented Jaideep Ahlawat, the fresh from the success of Ludo Fatima Sana Sheikh, Pataal Lok's big find Abhishek Banerjee, Nusrat Bharuchha (straight from the forts of Rajasthan with Honey Singh after the success if Naughty Saiyya), Konkona, Aditi Rao Hyderi, Shefali Shah, Manav Kaul and Tota Roy Chowdhury. To put it upfront, barring the segment by Neeraj Ghayawan the rest of them are sloppy and lacks a tighter script to match. Geeli Pucchi stands out for the brilliance of the script, Konkona and the setting in which the narration takes place. Neeraj takes pain in creating a sequence of even...

  Joji may not be Dileesh Pothan's best work but it shines for some terrific casting and an amazing backdrop in which the plot plays out. There is a discussion (in film reviews etc.) on the inspiration of Macbeth to the plot but that might not seem to be the case as the events unfold. I thought before I talk of my experience with the film these two points must be kept as bylines to the discussion.  Well, like I said before Joji's best part is the backdrop in which the plot is set. In the lush plantations of Kerala and the sprawling green the events that unfurl seems to form a perfect ploy to unravel. Fahadh Fasil shines in the title role of Joji but I thought there was a lot of moments where there were amazing things to be done. And that is where Unnimaya Prasad (as Bincy) shines. In a silent and unnerving role she comes across more colder in relationships and more casual as a witness to all the murky proceedings in front of her. One of her finest moments and that is where Bin...

  I have been talking about the rise and rise of regional cinema for long and my recent post has also talked at length on the reasons for the same. And The Great Indian Kitchen (TGIK) is another of those gems from Malayalam cinema. TGIK at first look will seem like a film on woman and their liberation and the Sabarimala issue and the suppression that they face. The film is much bigger than what it meets the eye. It must be seen in a spaced out environment to understand the nuances in the screenplay. In the opening sequence of the film where the prospective bride (as usual the brilliant Suraj Venjaramoodu) comes to meet the prospective bridegroom (the talented Nimisha Sajayan), the entire family is watching them talk and there is very little that is left to privacy, inspite of them being alone in a room. Also, point to be noted, that leads here, have  a name but as viewers we do not get to know that till the end. And, that is where the film starts to open up the layers. The ch...

Growing up in the sub-continent and that too in a difficult city in Eastern UP (Uttar Pradesh) it was/will always be difficult to miss the subtle undercurrents that blows through cities, societies, towns and the villages. Class, caste, disparity, religion and the simple existence of everyday life remains a challenge. Always judgmental and willing to tow the line it becomes difficult after a point and even starts to become a state of mind. I remember for the longest time it was hard to make people understand that I was not a Baniya (a trading community in India) just because my surname ended with a Gupta. Infact, it was even more difficult to make them understand that I was myself unsure of my caste and was pretty much happy in being just a random teenager with a Bong mother tongue.  The scarcity of the 70's and the 80's further added to the pangs of staying in a small city. Both parents being in academics and me in further ignominy of being always handed limited dole as pocket ...

  Anand completes 50 years since it was released and what a journey this gem has taken. Over the years the film has only gone onto strengthen itself in a classic category. Hrishikesh Mukherjee was always known to produce small budget meaningful cinema. And a person who starts with editing as a career profession and then moving to directing, he understood his frames and his cinema so well. While working on Do Bigha Zameen (A Bimal Roy classic) his editing skills are amazing treat. The opening sequence of the rains and everybody dancing (Later copied in Lagaan too) has some great frames to watch in Black and White. Do Bigha Zameen along side some terrific acting and plot is a visual treat and it is amazing editing that Hrishida brings on the table (watch the Rickshaw race scene to know more of that). Anand works for some terrific acting, an easy narration and a plot which is so well diffused in the time when as a nation we were looking for hope. The post partition trauma, widespread ...

  Satya was released in the spring of 1998. End of 90's was a interesting period for Hindi cinema and coinciding with it, Satya released. 1998 was also interesting particularly, with Karan Johar introducing himself and his brand of cinema with Kuch Kuch Hota Hai. Both films changed the way how the operating guidelines will work for Hindi cinema in the next few years. Satya, was Ram Gopal Verma's (RGV) 14th film after a slew of them released between 1989 and till 1998. With his first release, Shiva, RGV had already made his mark. The film was considered definitive in technique and a marvel to watch. Indian audience had never seen something like what Shiva was showcasing. Sound, Editing, Photography, Cinematography and camerawork changed the way with Shiva. Backed with some great casting the film quickly gained a cult status. Between Shiva and his next breezy entertainer Rangeela there was a gap of few years. Rangeela opened up the audience to the world of musical. I personally f...