Archive for the the good Category

An Jo on Dangal

Posted in the good on December 24, 2016 by Satyam


Again, Aamir gifts India with a movie in Christmas and proves why he continues to be the Santa donating gifts in the form of a few hours of magic, yanking your earthly problems out of your mind-space for 150 minutes and taking you on an adrenalin ride and making you believe that life, as bleak as it might be, when looked at purely as ups and downs of moments and emotions attached to them, can be livable and be looked back at with sighs and smiles, albeit in different doses. If life were a vehicle, Aamir the driver arranges a journey in which he packs characters that are real, earthy, smelly, and sweaty and lets them be; with him interjecting, commanding, demanding, talking, cajoling – all the while, only as an interlocutor: Throughout, the film is about those moments and characters that are part of Aamir’s Mahaveer Singh Phogat’s life, and they remain so. Aamir remains the root of the movie, but only as the root, always buried beneath but having the huge heart to dirty oneself in mud but let the viewers/audiences/people enjoy the tree, the rings, the leaves, the twigs, the branches, and of course, the shade.
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On Dangal, informally..

Posted in the good on December 22, 2016 by Satyam

I somehow lack the motivation these days to write proper pieces (or even anything) on films these days. At least in terms of formal posts. I am therefore indulging in a bit of a compromise here. Dangal deserves its own post but I am just going to do informal ‘bullet points’ on the film. Having seen the first show of the film (at my end) I feel I should be reasonably quick to say something about it as well! So here goes ‘less than nothing’..

1) Dangal is excellent in terms of how it’s put together. The storytelling is economic, really no unnecessary scenes, everything counts here. It’s a gripping narrative throughout. But additionally it’s also at very many points a rather moving film. It obviously has all the highs one would associate with a sports subject but even more than these it has very involving emotional cues that are not trite in any sense. From a purely storytelling perspective it’s hard to see how this film could be bettered.
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Once Again, Adoor (Open Magazine)

Posted in the good on December 17, 2016 by Satyam

thanks to Bliss…

BEFORE I SEE the film, I see him on my mind’s screen. A lone man in the house on a hill, and the rustle of leaves in the afternoon as familiar as stranded whispers from one of his frames. The house, solitary and solid in the sun, draws its retro spirit from his ancestral memories— maybe it’s architecture as archetype. Inside, the sense of space is accentuated by silence, and he is not particularly inclined to disrupt the comfort it offers either—maybe memories are too sacred to be banalised by words. The silence is an expression of the void, and he is still overwhelmed by its intimacy. There are enough stories in his head to help him overcome the kind of loss that can make ordinary men invalids in the present. Maybe it is stories that add to the serenity he exudes. As in his art, what you see is an invitation to perceive the hidden, the nameless emotions that stir beneath the calm. Adoor Gopalakrishnan is in conversation with himself, and at 75, this exploration has become lonelier, even linear, but you can’t miss the intensity. I love to be an intruder.

for more follow the link…

An Jo on Dear Zindagi

Posted in the good on December 4, 2016 by Satyam

Richard Linklater’s influences weigh much — if not heavily — on Gauri Shinde’s Dear Zindagi [DZ]: Particularly, the fantastic BOYHOOD. And the connection is not felt as much cinematically as it is thematically, i.e., the crests and troughs of childhood and their role in shaping one’s adult life. The one startling connection between the two is parenting as viewed through the eyes of children. In BOYHOOD, Mason hears his mom talk to her boyfriend about how parenting leaves little scope for her as a single-mom to pursue her ‘life’ or her interests; in DZ, Alia [Kaira] as a 6 year old over-hears her mother telling her Dad that it’s impossible to take Alia with them to a foreign country due to financial pressures. This forms a marker of an incident in Alia’s life and her subsequent handling of relationships with men in her life.
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Master on Shivaay

Posted in the good on November 1, 2016 by munna

***May contain spoilers***
Back from Shivaay. To put it clearly the movie is disappointing for the build up. The movie starts with Ajay Devgn(an badly created VFX sequence) jumping from mountain peak to bottom with someone calling out his name. Continue reading

An Jo on Ae Dil Hai Mushkil

Posted in the good on October 31, 2016 by munna

Mild Spoilers –

AE DIL HAI MUSHKIL [ADHM] is one of the worst, wannabe movies coming out of the Johar stable; and that’s not because the film in totality is bad per se, but because of the disastrous attempts at surrogate-wedding of depth with glamor. All his ‘K’ films and the faux-attempt at capturing xenophobia through MNIK can be considered classics – in terms of cinematic grammar only, by the way – when compared to ADHM.
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Salim on Ae Dil Hai Mushkil

Posted in the good on October 30, 2016 by munna

**May contain spoilers**
What if Tina hasn’t died at the start of Kuch Kuch Hota Hai? What if Anjali hadn’t grown her hair and started wearing sarees? And what if one day Rahul had to assess which ultimately meant more to him, his friendship with Anjali or his love for Tina? Two decades after his directorial debut, Karan Johar’s cinema has finally come of age. The gloss and glamour remain in copious amounts but we now have a film about the adult world (if not entirely populated by “adults”). John is unlikely to ever produce great cinema, and the sentiments of this movie far outweigh its cinematic qualities…but that’s not always a bad thing.
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