"Turning Points" by APJ Abdul Kalam: Glimpses of a People's President (Book Review)

Avul Pakir Jainulabdeen Abdul Kalam was India's eleventh President of India and also recepient of Padma Bhushan, Padma Vibhushan and also Bharat Ratna. Like Abraham Lincoln of the United States, he was famous even before he ascended to the Presidency, first as a rocket-missile man and later as an upright President - probably, the best the country has ever known. It was also one of the rockiest tenures for any President with the exception of probably Neelam Sanjeeva Reddy and Babu Rajendra Prasad.  Now, after serving as one of India's best-loved Presidents, APJ Abdul Kalaam has released a highly-readable memoir of his journey through the greatest challenges of his life and career - "Turning Points". Its a worthy sequel to "Wings of Fire"  - the first book that created publishing history. The royalties that acccue from the time the book was released can make it one of the best-selling books by a public figure in India - reaching the commanding heights of success.

"Turning Points" is a sparkling and stimulating read from APJ. In less than two hundred pages, the books covers all the milestones of his remarkable career without repeating much of what he said in earlier books - some of which are million-dollar best-sellers. He covers in fourteen chapters all that he wanted to say with a simplicity that marks his personality that now bears his writing out. Eight turning points, seen before Presidency and one after demitting his office, are covered in one chapter with a childlike innocence. Most of the facets that are covered only go to highlight and extend his astonishing ability to connect to the masses - especially middle-class, elites and children of India. He toured 21 states during his Presidency with the exception of only Lakshadweep, has brought Rashtrapathi Bhavan into the e-governance framework that he had grander designs to revitalise and recast for bringing greater accountability.

Its meant to be a tell-all, threadbare account of some of his most controversial decision - the dissolution of the Bihar Assembly, the returning of the bill relating to Office of Profit, the capital punishment decisions of Afzal Guru (on which he was silent), the decision to invite Dr.Singh in 2004 when it could have swung in favor of a foreign citizen Sonia Gandhi. Again, APJ is stoically brief in his analysis of those days that set the country's opposition on fire against Sonia's nomination to the Prime Ministership. Some of these chapters are weakest - in the sense that the ex-President tries to put a non-controversial treatment, choosing to be concise rather than be elaborate and hence, controversial.

History will always remember Presidents and Public figures who are courageous and sterling torch-bearers of integrity, honesty and competence. On that count, APJ scores the finest in recent memory of how a President has conducted himself in public life. Whether it is in meeting more Parliamentarians, State Ministers and Governors, or returning every gift, every single gift he ever received. Talking about why he is reluctant to receive gifts from anyone, he recalls the lasting influence in this matter was his father.  Quoting extensively from Manu Smrithi and holy works of Musllim saints, he quotes that, "When the Almighty appoints a person to a position, He takes care of his provision. If a person takes anything beyond that, it is an illegal gain." He paraphrases Manu again on why one must not accept gifts: No individual must accept gifts for the reason that it places the acceptor under an obligation to the giver and ultimately results in making a person commit immoral or illegal acts. Thats an exceptional value system for any Public figure and APJ has inspired a generation with his behaviour at Rasthrapathi Bhavan.

"Turning Points" is sure to climb the top-seller list because of a very balanced and yet erudite rendition of a productive and inspirational life. APJ has been engagingly fluent in many aspects that are seldom discussed by one public figure - be it education, technology, scientific pursuits, religious tolerance, raising standards of governance and accountability for Parliamentarians and Ministers, Anna Hazare movement, world peace and disarmament. He has a view on most aspects that are bordering on world citizenship and egalatarianism and altruism. All this, with a sense of humility and positivity thats infectious. Even if he hasn't been re-considered for the post of Presidency this time around, APJ's words of wisdom and his vision for making India a Developed Superpower by 2020 resonate well with India's public. I only wish his books get widely translated and read in all languages of the country. The books is not perfect to a fault, but it will not disappoint you, dear reader, whatever be your age or qualification. More power to you, APJ.

Turning Points: A Journey through Challenges by A.P.J Abdul Kalam. Pub: Harper Collins, pp.182, price Rs.199.00

Rajesh Khanna R.I.P. The Original Superstar

Rajesh Khanna. Usually Anand. Kabhi Kabhi Gum. Made blockbusters out of living life for others. Became the First Superstar and encouraged the Next Superstar big time. Shows his large-heartedness at the time. Gave Musical mileage to Kishore Kumar, RD Burman and lyricists. His taste for music was so great that his solo songs with melancholic touch are still playing at cocktail parties and get-togeth...ers with karoake mikes. His band of music goes magically well with nostalgia and single-malt whiskey parties. Without an iota of remix temptations - so much for his blend of music. Rajesh Khanna. Anybody with such a rich timber-sounding filmy name ought to have a whole generation of fresh graduates, housewives and self-employed abide by his name. And so it was with many in my family - my parents and closer elders included. He has taken the pre-liberalisation era of limited opportunities to new cinematic highs by taking a dagger to the hearts of men - and endeared himself to the ladies as a forlorn lover. Of course, this may have encouraged alcoholism and primitive brands of Teacher's whiskey - jocularly called "preacher's whiskey". Rajesh Khanna - also pushed the door open for South-Indian producers and directors and artists (other than heroines) who are not usually mobile. He was also protective of his persona till the very last - similar to Shobanbabu in Tollywood - not acting much in roles below that of the main protagonist. He has his lows in personal life but the highs make it a life worth being celebrated and remembered for. RIP.

 

 

"Cocktail" (Hindi) Movie Review

"Cocktail" is another experiment that brings back the genre of metrosexual romance with the chemistry of a much publicised starcast - Saif Ali Khan, Deepika Padukone and debutante Diana Penty. Homi Adajania is the director and he ropes in the writer-director Imtiaz Ali and another writer to pen the story. Imtiaz Ali is quite unpredictable in his scripts; most of his movies in the past from "Jab We Met" or "Love Aaj Kal" or "Rock Star" have been fluent opuses on love that remains unrequitted till the very end. In this movie, "Cocktail", Imtiaz Ali harnesses his talent at tweaking emotions of love a bit further, he creates a rapport between two girls - Deepika and Diana - then creates a rift between them later through Saif because both the girls want all of him. All this with some common and some bizarre family extensions for all the three.

The treatment is different and title-apt. Homi Adajania uses the laisse~z fare settings of London to weave the characterisations of the three principal actors the way he moulds the story - Deepika as bold and tempestuous, Diana as cautious and conservative and Saif as the quintessential Don Juan - till they all decide to do a flip-flop, in the interest of a happy ending that comes after 146 minutes of a cocktail of emotions. Pun intended. In between, the roles of Bomman Irani and Dimple Kapadia which could have infused variety and connectivity with elderly audiences had they stayed on course a few more minutes. There is also a constant tussle between the BGM score of the impressive duo Saliem-Sulemaan and the intermixed loud jingles of Pritham - despite one or two sonorous songs by Pritham towards the climax, BGM by SS is defining the key moods and moments of the film.

All the three Deepika, Saif and Diana get their share of hogging the limelight but Diana's character is weakest and inconsistent - it is because she is a looker and not an actor. Deepika shines brightest in the second half and tries to carry the film as if it is hers - with audacious dressing, bikini, uninhibitive acting. But at crucial competitive camera movements, our ageing hero Saif Ali Khan shoots from the hip every line that lingers. What he delivers with his eyes and face make it one of his best - he dominates even the hyperactive Bomman Irani sometimes. On the whole, the movie is a multiplex biopic with fast music, good visuals from London and Cape Town and easy fun that is a little more complicated. Could have been shorter - wonder what the Telugu Editor Sreekar Prasad was doing.

"The Intouchables" (English) Movie Dubbed from French

"The Intouchables" is a remarkable French film that swept the top honors last year at all film awards. The standi outside the screen reminds viewers that this film has collected Rs.2000 crores from 40 million viewers world wide - that means more people than what the entire India pay to watch any movie made in India paying per ticket Rs.18 to Rs.500 on any given day. I went without any idea what it was about except that it is a dubbed film from France. No known actors or crew to kill for. The result was hugely satisfying and worth watching. Its a tale of a bond developing between an aristocratic Parisian Phillipe who is quadraplegic (meaning unable to move hands or legs) and his assistant Driss, an African-origin janitor who is reluctantly pulled into the job.

After the movie rolls on, with English subtitles (whose tenses and verbs sometimes do not tally with the audio version of language), the story-telling is vivacious and infectious - the first joke comes within two minutes, then another and another and before you realise that sparks are flying between the two men, the laughter gets uproarious and roof-top-blowing kind. Don't get me wrong, the sense of friendship between the two men is pretty straightforward - they connect to each other's world and discuss everything under the sun - including women, sex, paraglidiing, modern art, parenting, spending habits, theatre and music. They bat for each other despite huge class, wealth and race inequalities.

Its quite incredulous that this movie should have been made in one of the most racist countries in the world. The hilarity of the film can't be emphasised in few sequences - it hits with a frequency that surprises you. There is a shot in which Driss accompanies Phillipe to an Art Exhibition - and Philippe stares at an artwork that has a splash of red in white background and agrees to buy it for 30,000 Euros (not that the French regard Euros as worthwhile currency). Driss says, as if to make a statement on how arbitrary art valuations abound these days, he could paint the same painting for same amount or more, and give blue additionally. In a twist of poetic justice, Driss indeed works on an abstract painting that Philippe pushes in the art mart for 11000 Euros, more out of affection to cheer up Driss.

Scenes like this make the film a charm. What endears the film to the audience, evidenced by the huge audience count so far worldwide, is the universality of the emotions - fear, tears, laughter, sense of achievement, sacrifice, learning from mistakes, serendipidity, fear of trying something for the first time.

The two lead characters are played dexterously well by Francois Cluzet and Omar Sy. Francois Cluzet is the diffident, depressant patient whose limbs are lifeless, so he can only speak and animate his face - he does it masterfully. Omar Sy as Driss, becomes the arms and legs for Philippe - he steals the thunder often, lights up the screen with occasional wisecracks, experiments with boredom and breaks out of the shackles of the mind more than Philippe. His acting resonates as well as the screen presence of guys like Eddie Murphy, Will Smith.

Music  by Ludovico Einaudi is another asset to the film - you get to hear almost all the classical masterpieces from Vivaldi to Beethoven. In between chatting up at the chateaus, lovely piano music is at play most times when the scenes shift to the picturesque French countryside. On the whole, the movie is fun and inspiring - if you have elders who are of restrictive movements because of whatever reasons and can't do without a daily dose of Prozac and Restil, take them to this movie - it will cheer them as an Indian Masala film. I am told that in 1914, ninety percent of all films distributed worldwide were French Films. By 1928, eight five percent of all films distributed were American films. Thats how Americans killed the heart of Euro cinema. Movies like this will help buck the trend.

"David Billa" (Tamil/Telugu) Movie Review

"David Billa" is supposed to be a prequel to the "Billa" franchise. Directed by Chakri Toleti. Telugu folks should know this guy. He was the smiley kid who waits for Kamal Hassan's perfect "Bhangima" in "Sagara Sangamam". Yes, the sa me guy grew up and made "Eenadu" (Remake of "Wednesday"). And now, "David Billa" with Ajit Sir. To be fair, the movie has got everything on the face of it - a kill...er app franchise, excellent technical team of editors, screenplay writers and cinematographers. And some terrific music by Yuvan Shankar Raja. It has a less obese Ajit who is seen as less conceitful than what the character demanded in "The Gambler". To top it, a bevy of villains from Rahman to Sudanshu Pandey. Sudanshu Pandey is definitely a find - he is suave, intense yet subtle and stylish - combines the looks of Kabir Bedi with Mukesh Rushi. He is one of the reasons to see the film. But Ajit does monotonous acting - there is no improvisation and no new swagger and chutzpah that he usually embellishes his portrayal with.

The story unfolds the usual way a Don emerges - a refugee from Sri Lanka, odd jobs of smuggling, working as a retainer, and then climbing up the ladder. We have seen this movie before, you get the feeling. Chakri Toleti, no doubt, has got the talent for intelligent film-making but his sensibilities are more shaped by Hollywood than by native touches. So, the movie seems like a concise procession of stylish visuals with fancy massage girls, slush money, drug-levelled suitcases, and slick gunshots and neck-stabbings. The biggest drawback is lack of entertainment. Romance is also hugely amiss - atleast one of the two girls is good-looking but apart from giving avuncular glances and dont-mess-with-me looks, Ajith comes a cropper there. There seems to be some problem of re-inventing himself for the masses and plots like that of a Don wont help. Chakri Toleti should attempt varied plots to show his talent. The only redeeming feature for me has been Yuvan Shankar Raja - his BGM music is outstanding. You can give the movie a miss because its all gloss and no substance.

"Eega" (Housefly) Movie Review (Telugu)/"Makkhi" Movie Review

"Eega" means housefly in Telugu. Thats the name of SS Rajamouli's latest and most-ambitious film till date. Its the most common and harmless insect heavily spotted even in concrete jungles and unlike mosquitoes and other blood-sucking pests, it is not carnivorous and usually doesn't harm humans - it is a very fidgety creature and moves at lightning speed, hardly stays anchored at a place beyond few seconds. To make a movie on a housefly is itself audacious and insane, nobody has done it ever in Indian Films. In the west, there have been many superhero films and maybe movies on rats, monkeys, sharks, bears and deadly snakes, but not on an insect so insignificant as a housefly - its amongst the lowliest of the lot but has a picturesque body - an amber red head, two hairline whiskers, two mini hands used to navigate direction, two wings that seem to generate sound an equivalent of a helicopter taking off when in motoring mode, and an identifiable body and legs. It has the most athletic body in insect world and director Rajamouli has studied the world of houseflies to the core, except a few lapses which I will come to later. "Eega" is definitely worth a watch once for the fabulous effort to make a superhero out of an urban pest - the director has spared no effort to finetune the movie - in Special Effects, technical departments of art and cinematography, in performances by the lead starcast in which Kannada actor Sudeep excels himself, and in overall pace of the film.

Rajamouli generally lets the story line out in the pre-release buzz. So the story is well-known before: Boy (Naani) meets girl (Samantha). Both fall in love. Enter Villain (Sudeep) who lusts after the girl, kills the boy. Boy gets reborn as "Eega" and takes revenge. Quite a simple and ordinary story, isn't it? But the execution is grander and the classic three-act structure, which Rajamouli always followed, is present here too. The movie is actually a special effects movie and the effects have a running time of more than 100 minutes - that can sometimes tire the viewer. Most of the action sequences are between the "Eega" and the villain; the director applies good logicality to how a harmless housefly can wreak havoc and throw your world upside down if you mess with its lover - it will attack you at the most unexpected places when you are least prepared, like in a steam bath tub when your face protrudes out of the heat tub and all your limbs are dissembled to atttack the insect crawling on your face. Rajamouli creates more scenes like this - when the villain is driving at high-speed, making a board presentation, trying to woo Samantha, or just sleeping. "Eega" just buzzes around, pricks the sense organs and drives out the peace out of Sudeep's mind. Quite wonderfully captured these stunts with amazing detail and Hollywood-style craft. The director uses the well-known laws of physics and some aspects of biology and chemistry in the friction shown between the two characters - Eega and Sudeep.

Most of the movie, MM Keeravani (MM Kreem as known in Bollywood) has given an outstanding BGM score that heightens the impact of the SFX and the moods. Quite rarely, Keeravani stops himself, seldom seen in our movies, to let the foreground become background - meaning, the score becomes silent when the heroine Samantha tries to communicate with the hero-housefly or when the housefly is plotting the next move against Sudeep. Those moments of silence, and the early part of the movie which builds up the romance between Naani and Samantha are the cutest reels of the film. Very few lapses on the part of Rajamouli - his clarity of thought and execution, screenplay (with extended help), characterisation and pacing of the film are terrific. Where he fails is in the entertainment this time - he cuts the romantic part of the film, which he could have shown more with the "Eega" or Naani in relapse which could have endeared the masses. He cuts the most beautiful, melodious song of the movie (probably, the decade) - "Nene Naanine..." to less than two minutes, and allows just two other songs to flourish. He hasn't inputed any comedy track in the film, that can prove costly to its success. A Telugu film without comedy struggles to get repeat audiences. When you spend Rs.43 crores on eye-popping graphics, you should have atleast 15 minutes of comedy. Another drawback in the basic plot: the villain kills the hero first, but the re-incarnated hero with all his killer antics creates fear in the villain's mind but fails to kindle any sense of remorse or regret. Besides, the heroine, after knowing her lover has come back as the housefly, enjoys the company of the housefly. How does a woman co-habit with a housefly? To pun, how does a housewife co-habit with a housefly? Thats absurd.

Well, enough of hyperventilative analysis of a movie that is breathtaking in effects but falls short on practicality and comedy, excels in performances by Sudeep and Samantha. It is most definitely watchable once, and by all kids. Its a proud addition to the creative power of Tollywood. An experiment that earned its spurs for Rajamouli.

"The Amazing Spiderman" Movie Review (138 Minutes)

“The Amazing Spiderman” comes back with an unfamiliar bang and unhurried charm. Andrew Garfield (remember the skinny guy who played the CFO in Facebook “The Social Network”?) replaces the effable Tobey Maguire, and Emmy Stone replaces Kirsten Dunst. Director Mark Webb seems to love his surname so much that he ought to make a webby film out of it. He has done a pretty decent job of building a credible first take on the Spiderman. It delves on the improbable origins of Peter Parker in the annals of cross-genetics and how Peter’s father helps Dr. Curtis Connors in his research using complicated calculus formulae that go into making alogirithms that alter biologically.

A good deal of time gets spent in establishing how Peter Parker (Andrew Garfield) goes on to investigate his roots from adopted father Martin Sheen (always good to see him back in any cameo), meets Dr Curtis Connors, gets bitten by a genetically altered spider and shoots webs at will and walks on walls and jumps from one skyscraper to another in union-jack-red-and-black attire that still looks like an urbane swimming trunk. What can get a spider? A Lizard. And so, the villain Dr.Connors becomes a giant mutant lizard that stomps the streets of New York and pulverizes people and caravans of cars like a Godzilla – most of the stunts between the Spiderman and the giant lizard are nightly in nature. I wonder if this is deliberately done to counter the ensuing next big release of the Summer is Batman’s “The Dark Knight rises”. Nevertheless, the plot moves on to more complex matters – the lizard-man becomes more menacing and engulfing for mankind and our friendly Spiderman gets help from New York Police just in time to thwart Dr.Connor’s dangerous tricks. In between, a decent romance between Andrew Garfield and Emmy Stone that is more prolonged than seen in Spidey movies (without a love triangle).

How Good is the characterization and the performances? To be fair, Andrew Garfield gives a towering performance that will appeal well to the fans of the Marvel Comic character. Early versions of Spiderman starring Tobey Maguire had a genuine likeability about him so it kind of grew on you with an earthy and credulous touch. Present version takes off on the same path of first part of Spiderman released in 2002, takes a long time to establish the family background, the upbringing, and then the accidental transformation of a boy-next-door into discovering the webby instincts. The scenes showing the adhesive nature of the superhero’s hands and feet, and the commanding horsepower of his routine actions resulting in weird consequences like glass-shattering, basket-ball goal-post smashing are eye-popping and well-picturised. Even a simple act of googling his own spidey behavior results in the unraveling of the keyboard letters which is intense and believable. The origins of a superhero and the coming of his age were never shown so fluently in any movie before. Those sequences bind you more the friendliness and acuteness of this character. Most humor is embedded in these initial sequences, afterwards the plot gets thicker and serious with the unbearable tightness of being Spiderman getting to Peter Parker’s head. Character-wise, Martin Sheen, Sally Field and Rhys Ifans (who plays Dr.Connors) play their parts flawlessly. Dr.Connors character lacks texture and depth and definitely comes nowhere close to the swagger of the villain seen in first three Spidey movies. That is the major flaw in this movie – the villain’s characterization lacks substance and enough justification and as if there’s a late realization of this, Director Mark Webb shows him just after the movie’s primary title credits in conversation with another invincible power as to how to betray Spiderman yet again.

How Good is the 3-D Effect? Not that good. Except in one of the final stunts where the giant lizard leaps out of nowhere to browbeat the Spiderman, I could not perceive the third dimension with any telling effect. These days, the camera work in 2-D is so exceptional that one need not wear 3-D glasses to feel you are walking in the air with Spiderman over the nightly skyscrapers of the Manhattan, or “touch” that totempole of an Empire State Building or puke a web on the villain’s face. That’s a bit disappointing. Andrew Garfield, as I said before, has worked his lanky frame to give a unique tilt to the character, almost as incredibly as Tobey Maguire does. I am sure the shutterbags will soon report how Andrew has also done gymnastics, martial arts, weights and high-end cardio to stand out as an agile Spiderman – who needs to move at top velocity, in non-linear fashion, at tangent to gravity, within vertical limits. The effort shows - like one pose where he literally does a Shirshasana.

Is there anything else to rave about? Yes, there is. James Horner- that majestic Music composer – the only stalwart who scored award-winning music on a par with John Williams – has scored memorable BGM. Its on Sony Classical and I am going to own one.

I went with low expectations, having watched all of the three Spidey films. This one was quite watchable with few guffaws and one or two Indian tricks. One is Irrfan Khan – it is quite a forgettable role, I wonder if it can be even called a cameo as memorable as what he did in “Slumdog Millionaire”.

Of course, we Indians cannot match Hollywood in SFX or scripting or storyboarding or marketing of a franchise. The spiderman and other comic heroes will continue to make money. The First Spiderman walked away with $400 million at the Box-Office. In India, it collected Rs.26.2 crs. The second, Rs.33.4 crs and the third, Rs.68 crs. All this, when the Income Tax Officers didn’t adjust the Cost Inflation Index for the four years very high between 2002-2007. And we Indians, we will continue to make films that please us not what the world watches. If they make about Spiders, we will make about houseflies. So be it. As far as “The Amazing Spiderman” goes, the Rupee depreciation is going to assure that with 1000 screens hit with the movie (762 screens for “Avatar”), Hollywood is going to rake it even more. Well done, Mark Webb.