Showing posts with label Shankar Ehsan Loy. Show all posts
Showing posts with label Shankar Ehsan Loy. Show all posts

June 6, 2015

"Dil Dhadakne Do" (Hindi Movie Review)

"Dil Dhadakne Do" is a non-tragic version of Titanic -  What happens when a dysfunctional family that never find time for each other land up in a cruise for ten days. And the problems that come from a lifetime of miscommunication and under-communication surface to the sea - until they get a life-saver, actuallly a life-boat to find happiness in a sea of unresolved puzzles. Zoya Akhtar weaves a story with too many characters and unwarranted adult scenes which make a not-so-perfect viewing in 165 minutes. Neither the audience nor the players in the movie have an escape route - because we are all at sea with a contrived tirade of pride and prejudice from a mechanical rich man's family led by Anil Kapoor. But for the stark message of the movie - Give love to your kids but also give them freedom to do what they want - and some remarkable performances by Anil Kapoor (father), Shefali Shah (mother), Priyanka Chopra (daughter) and Ranvir Singh (son), the movie crawls until a cameo performer Farhan Akhtar restores some sanity. 

Zoya's strength is her characterisation - each artist gets his or her arclight performance but her weakness in the movie is to get too many characters mess with the main storyline of the Mehra family, it dilutes the intensity of the story. By making the family pet-dog Pluto talk about the story and the stereotypes presented in it through the voice of Aamkir Khan, Zoya may have scored a self-goal because it makes the film a documentary with comments from Aamir's voice with the caustic pen of Javed Akhtar. For a long time, you feel you are watching another Raju Hiran's film where relentless commentary runs in the background with subtextual messages and chatty scenes. What redeems this monotony, occasionally, is the background score by Shankar Ehsaan Loy and associates - it is mostly chords, violin and piano. The songs are a saving grace but come few and far in between - it is either an aberration when you don't expect or a rarity when you desperately need it, spacing is bad. The Punjabi Song in the second half is the only song that stays despite another impressive album from the trio music direcors. Cinematography stands out because this is again a film that is promoting cruise tourism, sixteen years after the film "Titanic" swept the world. 

Despite a brutal portrayal of how the rich live, think and behave with one another, Zoya's characterisation shows gaps in understanding. Inconceivable that with so many friends invited on cruise, the son and daughter grow up with such emptiness and rudderlessness and without affection and understanding from parents. Neither do we find friends who can be sounding boards for each other. It is as if everybody is on their own trip of making it big and so full of themselves with never-ending vanity and disaffections. Whether such paradoxes in parenting exist in totality or is a figment of Zoya's fiction is unfathomable and surreal. Impossible that the mother loathes everything but has a stigma against divorce. Impractical for a rich kid to be forced into father's biusiness and not raise a moment of protest in so many years. Whether it resonates widely and whether it is credulous, one should ask the director and the story-writer - could there be greyness in some of the stereotypes that she typically shows as in her earlier films like ZNMD and LuckByChance. What she shows is a rich society that has taboos, doesn't talk turkey, traps their children in hopeless marriages and enslaves them in illiberal notions of misery while moving on in other aspects - that is the most incredulous aspect of the story - which is a surprise because Zoya invests well in her storylines with intelligence and plausible emotions. The fun part of the film is carried out by Ranvir Singh and Anushka Sharma in a sizzler of a romantic track that shows the chemistry between them. If only Zoya had a better editor and a story-writer with authentic sensibilities of the worlds being projected, and invested in entertainment, this film would have scored high. Now it is upto the audience to filter this low-emotion false imagery the way they want. Or, enjoy the beautiful visuals of Eurozone countries like Greece, Turkey and Spain on a cruise themselves - which is what the film anyway wants. Watchable but doesn't give you a high like "Zindagi Naa Milegi Doobaara". I would watch ZNMD or Titanic again anyday than this sober fare.

Rating: 3/5

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January 31, 2013

"Viswaroopam" Telugu/Tamil Movie Review

"Viswaroopam" is truly a treat for fans of Kamal Hassan who admire his versatility and talent. Even though there's no title justification, the film is a stand-out in terms of technical brilliance and production standards that outmatch Asian cinema. To say, it holds a candle to Hollywood will be an outright cliche because Hollywood is always going to be on a different planet - their industry, their stalwarts, their creative flicks and their collaborative genius can never get exceeded in many lifetimes by anyone else outside of Hollywood. But Kamal Hassan wouldn't take that, as would  many other talents in Bollywood and other "Woods" who feel they are a misfit in Indian industry. Eventually, these talents either hit upon one or two films that pushes the door for an Oscar nomination or they end up collecting shingles for a role in "their" films which Americans can't even remember.

Kamal Hasan has gone through this angst many times in his lifetime and one day, we will all get to read about it in his own autobiography. Unlike his contemporaries in South film industry like Chiranjeevi and Rajanikanth, Kamal Hasan never compromised on his beliefs, his standards of acting, his quest for meaningful cinema within the boundaries set by commercial sensibilities. Unlike Rajanikanth and Chiranjeevi and even Amitabh Bacchan, he never got carried away by what the fans expected of him. Each time he acted, right from his toddler days as a child artiste, he kept pushing acting performances towards new highs and never fell to the temptations of stardom. We could have lost him many times in his career as an artiste of repute but Kamal Hassan never succumbed to the trappings of a mass hero which can nip your creativity in the bud. Playing characters, working with the greatest talent harvest in the golden age of Tamil and Telugu film industries, Kamal Hassan was true to his own self - which has earned the respect of every film goer who sees an artiste in him.  He has tried to play a new character and not the same matinee idol role that others were getting drunk on. On top of this acting talent, he can also write screenplays, sing an occasional song, make himself up into a different getup, edit films, pen sharp dialogues and direct movies. That makes him almost a non-pareil in modern times in Indian films a sort of a Raj Kapoor, Guru Dutt or a Shantaram. He is also a maverick in more ways than a Hollywood multi-faceted legend like Sidney Lumet, Clint Eastwood or a recent Ben Affleck - he strongly believes in creating cinema thats different, bold, taboo-free and subtext that sometimes is so strongly segued with his own belief-systems that they lead to the ruckus that's unleashed for "Viswaroopam". Whatever they may say, that Kamal is an atheist, he is anti-brahmin, he is anti-Hindu, he is secular, whatever, "Viswaroopam" is an uncomplicated visual treat which must be watched atleast once. 

What is evident from his films, in general,  and this film, in particular,  is that Kamal Hassan likes to give subtle messages of rationality, empowerment of women, a voice of dissent to those who act irrationally and a background to the social winds of change that sometimes miss commentary and observation by one and all. "Viswaroopam" is a good story told with lot of detail and passion  about an Indian RAW officer who infiltrates a "Jihadi" network of terrorists by becoming one of them. He changes his name, religion to be a Kathak dancer flirting with his girl disciples but earning the distrust of his not-so-loyal wife Andrea Jeremiah. Andrea is a nuclear oncologist and lands in a soup when a detective she appointed to spy on her husband's "illicit" liaisions knocks on the door of a terrorist. That terrorist's den belongs to Rahul Bose - a one-time ally of Kamal Hassan in his flashback role as Wasim Kashmiri. Rahul's men hold Kamal and Andrea captive and get ready to break his knees. That's when Kamal sets himself loose and polishes off the villains.  The sequence opens out further to reveal the flashback in terraneous Afghanistan where Rahul Bose and Kamal get together to become brothers-in-arms under the elderly guidance of Nazar (he is always there in Kamal Hassan's films, isn't he?). The flashback is the heart of the film and runs for an elaborate length within the overall running time of 148 minutes.  It is well-researched and well-shot on the magnificent plains of Afghanistan or the parts of Central Asia that protected Osama Bin Laden. This part of the film  - the part of the flashback which shows the sun-drenched tough-living conditions of mountainous regions where the terrorists train to fight for a cause but have their emotions run below the surface - for their loved ones - is shown with fascinating detail.  Under-stated but firm interplay of emotions of joy, friendship, betrayal, love and anger are well-bought out.  Certain scenes may remind you of the basic plot in "Kite Runner" that memorable tale filmed from a best-selling book. There are other scenes which resemble some of Kamal's films like "Dasavataram", "Satyaa" and "Hey Ram" (which he himself directed). 

Screenplay is pacy, and the narrative cascades well with a storyline that is well-written. Characterisation and emotions are the only two aspects which take a back-seat in Kamal's self-directed films. Not all characters get the right attention and except for Kamal, Rahul Bose and his associate, the rest of the characters were a wasted lot. Shekhar Kapur,  Prema Kumar and Nazar could have got meatier roles because they have the screen presence. Kamal's own performance actually gets overshadowed in the film by Rahul Bose who is such a fine actor. At times, Kamal Hassan is unconvincing as a Jihadi terrorist, but Rahul Bose is bang-on whether he stops himself short on doting his son and wife or rabble-rousing his camp followers or slicing his targets. Even his Arabic is flawless and sounds so good to hear. Andrea Jeremiah is cute and so is Prema Kumar but Kamal's fans must be disappointed not to find the customary lip-kiss that has become so commonplace in his films lately. The last time Kamal directed "Hey Ram" he was all over Rani Mukherjee but this time wonder whether it is the the creditors and the censors that made him lose intimacy with two cute debutantes.  Songs never get the extra-padding in his films especially the era after he gave up on Ilaya Raja. In this film, Birju Maharaj composes a lovely number on Kamal as a Kathak dancer set to hummable tune by Shankar Ehsaan Loy. The trio also score a terse yet tense background score that never distracts the audience from expecting surprises. Kamal has once admitted that he killed his own career in the early 2000s by acting in comedy films in which he plays marbles with other also-rans. Then it took many films to get back his mojo even though the golden run has gone. He is not a bankable star at the box office because he doesn't improvise on his charishma, he merely experiments with different characters and nobody really whistles when he appears on the screen, nobody takes ninety seconds to read his name on screen as with other stars with epithets like m-e-g-a-s-t-a-r or s-u-p-e-r-s-t-a-r. Here is a star who gives story the headweight it demands, blends his character like any other character in the film  and uses humor that is most often never dumbed down for the galleries. You will find references to famous literary works like "killjoy" or questions that he wants you to ponder like "Which God of yours?" (a reference to the Hindu Pantheon). Infact, think of the treatment, there is nothing in the film that buys controversy. Its just that the terrorists of a certain network are shown as highly religious in the traditions they follow - thats not objectionable by any stretch of imagination. 

Obviously, violence is quite graphic and brutal as it is depicted to match the explicit nature of what terrorists indoctrinated to achieve their means do. Climax could have been better and the wry humor that Kamal likes could have been spaced evenly throughout the film. Tension grips the film from the outset except for the titles when pigeons - the most peace-loving creatures flutter in their backyard. One noticeable point, I must say is that for the first time, a film doesn't preface with a statutory warning on smoking and drinking. Thats a rarity. Kamal Hassan, the director has aced up Kamal Hassan the actor. Wherever he wants to migrate to and become a citizen of,  Kamal's films are good to watch  - they are different and have a nice mixture of cinema sensibilities that the Indian viewer is seldom exposed to. For all that and for the controversy that it has generated sans the emotional and entertainment connect with the masses, "Viswaroopam" deserves 3.75 out of 5. 

"Jailor" (Telugu/Tamil) Movie Review: Electrifying!

        "Jailer" is an electrifying entertainer in commercial format by Nelson who always builds a complex web of crime and police...