Archive for the the good Category

Salim’s Viewing! (updated)

Posted in the good on November 7, 2014 by Satyam

Hamlet
Decided to watch this 1954 version in preparation for setting Haider. Kishore Sahu stars alongside Mala Sinha. I’m not a Shakespeare buff and to be honest I was kinda bored by the proceedings. I think someone more familiar with this genre could appreciate this better.

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London’s Lost Cinemas (LRB)

Posted in the good on October 30, 2014 by Satyam

LINK


[first image from the 1930s, the second a projection of what it might look like]

“I don’t know if the afterlife experience will fall on us as a broken-backed trudge across an eternity of unyielding stones or a short-breathed descent into a confusion of hot tunnels (with distant rumours of rushing water). Or if the coming limbo will sentence the dead to a cinema purgatorio of guilty memories with no beginning and no end; a microclimate of mephitic fumes so pernicious that tired eyes struggle to form a pattern from writhing shapes on a dirty sheet. But whatever manifests when the hour comes – perhaps all of the above in a simultaneous implosion of apocalyptic payback – it will feel very much like being shipwrecked on the Tempest island of the Elephant and Castle; another chunk of London real estate serially overwhelmed by enlightened development.”

The ‘Truth’ about Shahrukh’s box office..

Posted in the good on October 29, 2014 by Satyam

Raj5 instigated this, then there were some kind comments on it, finally Munna urged me (and I don’t require very much in these matters) to put up a new post on this. hence if anyone’s upset with me direct your anger to the above-mentioned folks! I’m just putting up the comment as is. There might be typos or whatever but I can’t bear going through my long comments again!

My points (often distorted by those who didn’t like what I said in this regard) were a few..

1)SRK was easily the most iconic star of ‘New India’ which is to say a post-economic reforms dispensation nation. He represented the ethos of the new upwardly mobile classes. He starred in the most iconic films of the age. Obviously he was a very important box office force, even the ‘biggest’ inasmuch as he did the biggest films and the rest followed.

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GF on Haider

Posted in the good on October 12, 2014 by Satyam

this was a response to Qalandar’s piece but it deserves a separate post..

All sorts of spooky spoilers follow…

Your review was a welcome read, Q, as always. I found in Haider a rawness of emotion that I often think is pretty much absent in contemporary Hindi cinema. It was deeply affecting on a purely emotional level, and that on its own is a win. As far as Hindi films of the last several years go, this movie, in its tone, in its nuanced, clear (and novel!) criticism of the establishment and in its daring filmmaking strokes (the visuals, the location shooting, sure, but also the unabashed embrace of all things that are Hindi Film 101) I was actually most reminded of Ratnam’s Raavan. For this reason specifically where I differ with you most is with respect to which “half” of the film I preferred. I found the first hour (and change) of the film, the section dealing with Haider’s search, while watchable, a bit dry, and certainly a bit overlong. I can see the usefulness of this first act, it is novel in its representations, specifically in offering a set of characters unburdened by tired template(s), and, most mercifully, a Kashmir that doesn’t seem like a post-apocalpytic ski resort, but a place where people live and have lived. But this entire section nevertheless felt, to me, like an artless version of Shaji Karun’s (succinct!) masterpiece Piravi, which dealt with a similar kind of hopelessness encountered by a father who also goes in fruitless search of his missing son in the big city, and who, again like Bhardwaj’s Hamlet here, descends into a kind of madness when this search draws him into the interminably circuitous pathways of an aggressively uncaring bureaucracy. Continue reading

Saurabh on Ghulam, Deewar and Memory

Posted in the good on October 12, 2014 by Satyam

is response to this post

In a crucial scene in Vikram Bhatt’s Ghulam quite a few characters participate in a local meeting to discuss the violence in the neighbourhood. There is Fatima (Mita Vashisht), the Muslim lawyer who plays an important role in the protagonist Sidhu’s (Aamir Khan) life. Then we have a Tamilian vegetable seller, and a crippled Muslim man from Uttar Pradesh. And of course Sidhu himself is presented at the meeting as a Maharashtrian identified by his last name Marathe. Taking the context of Bombay’s linguistic and cultural hybridity amidst a compressed landscape of architectural chaos, Ghulam presents the urban crowd not as an abstract force but as a multicultural presence. The presence of the crowd and urban chaos are relationally structured around the Marxist idea of ‘empty space’. By contrasting ‘real’ space (the space of the crowd, the street, and the home) with fetishized ‘empty space’, Ghulam creates a conflictual movement between the ‘everyday’ present and the ‘traumatized’ past. This is most vividly imagined in the scenes on the river-bank (‘ghaat’).
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Chetan Bhagat on Amitabh Bachchan

Posted in the good on October 11, 2014 by Satyam

thanks to yakuza..
LINK

” Through the ‘70s and the ‘80s, Amitabh Bachchan became the antithesis to the romantic tragic hero. He underlined that there’s more to life than just that. As ‘the angry young man’, he reached out to the lowest denominator. There was a socio-economic subtext in his films right from Deewaar, Mard to Agneepath, something
he may not have been given due credit for, being such a commercial superstar. But down the years he became the Indian icon, the adarsh pursh. Yet
he was someone who could test the limits of morality as in Deewaar, Sharabi, Silsila right up to Nishabd.”

for more follow the link…

Qalandar Reviews Haider (2)

Posted in the good on October 8, 2014 by Satyam

earlier post