Delhi Belly: After-thoughts

The unconventional name of the movie which literally means diarrhea, first-of-its-kind songs - D K Bose and Penchar and given that it is an Aamir Khan (and UTV) Production gave an impression that Delhi Belly is going to be an unconventional movie. The starting scene showing very minute details of water running down the drain while the bucket is just a foot away, the cockroach (which almost occupied the full screen) eating stale pizza beneath the bed on which is slept a fat man whose depression between his bum cheeks becomes the focus of the camera person further reinforced my initial assumption. After watching the film, i must say, I wasn't right. Neither was I wrong.

I found the interview which Tashi (Imran Khan) took of Anusha Dandekar, who plays a 'pop star' in the film, amusing. Anusha's new songs lyrics are - 'I hate you (like I love you)' which she spells out as ' I hate you brackets like I love you'. This line reminded me of my drives through Jubilee Hills, Road No. 36 in Hyderabad. The road is lined with hoardings of advertisements of ADP. These ads, which have been there for more than two years, are very peculiar. The ads try to position the company as a company that employees love to work with. The tag line goes like - "We like to go to office of Monday. (Do you?)", "My mummy likes to go to office. (Do you?)." A quick disclaimer: I don't remember the exact verbatim of the ads. So please pardon any errors. But I hope you get the point. I am hinting at (Do you?) part of it. I always found the ads a little funny. I never understood the rationale of putting the 'Do you?" in brackets. I initially thought it was a typographical error but soon dismissed that argument after seeing it in hoardings after hoardings. I thought that there a lot of things I don't understand that this one of them. Tashi, the protagonist, by being sarcastic to Anusha on the '(like I love you)' enlightened me that there is a more evolved section of society who have interpreted the meaning of 'brackets' which I am yet to discover.

The narrative of the film is well paced. The dialogues of the films, needless to say, are very contemporary and elicit quite a few bouts of laughter. The music of the film is outstanding. Most of the songs play in the background and takes the story of the movie forward. Acting by each of the actors is awesome.

Coming back to the film: The title of the film is apt as 'Delhi Belly' is central to whole plot. Ntin (Kunal Roy Kapoor) eats unhygienic roadside tandoori chicken and get diarrhea. Because of Nitin's diarhea Arup (Vir Das) has to deliver the smuggled diamonds but mistakenly delivers the stool sample instead. This kicks-off the pakda-pakdi between the three friends and the goons and ends in a conventional happily-ever-after ending.

While enjoying these explicit dialogues, superb camera angles and amazing music, one tends to think where exactly is the story going. Having high expectations on this film, I was hoping that the stories would take a twist and become more engaging. But to my disappointment, the story turned out to be pretty mundane. The line from a song of this film aptly describes the plot - 'Sabun ki shakal mein, beta (plot) tu to nikla keval jhaag'. 

Given that the story is so 80s, I was wondering why no such film got released then. Films mirror the society. Well, I am not saying that people in the yesteryear didn't use expletives. The film however represents who has the cash. Before liberalization/globalization, Indian middle class didn't have enough money to watch films. Majority of the people who had money to watch movies were in their thirties and went with their families and kids. So, the films of the 80s were targeted at the PSU employee, who though in his youth would have used vernacular expletives, still embraced traditional Indian values. India now has a growing upwardly mobile middle class who speaks expletive English and has disposable income. Delhi Belly is targeted at them. And if I were to predict, then only more movies with such 'local' language will be made. Indian cinema is at a transition phase and this film plays a significant role in it.

Overall, I have mixed views of the film. It is unconventional and outstanding in the narrative, music and camera. However, the plot of the film is very ordinary. The film reminds me of Angrez - good narrative and dialogues but ordinary storyline.Watch this film if you want to have a good time with friends. Don't watch it if you are expecting anything more than that.

Raajneeti: After-thoughts

If you are an engineer, you would know what is meant by research paper. For the others, here are the steps to write a paper:

1. Select a subject. More often than not, this is a topic on which one has some past experience and, preferably, in which one has burn his finger.
2. Select a few pioneering papers and refer to some current industry work.
3. Take bits and pieces of information from all these sources and compile them

The above three steps are for writing ordinary papers which will help you get a good job or an admission to a US grad program. However, to get into a top rung university/job, you need to be a little creative and follow the below step.

4. Do some transformation on the information gathered from the research papers and then compile it. For example, if there are two variables in an equation, combine them and make it a third variable. Transpose a variable from one side of the equation to the other side. Add two or more independent equations and make a consolidated compiled equation which, in essence, doesn't carry any new information.

And woila! We have an Ivy League paper!

Prakash Jha's Rajneeti can be considered analogous to a research paper. It takes bits and pieces from Mahabharat, God Father, Shiv Sena, Congress, (Priyadarshan's movie) Virasat among other sources.





Mahabharat is a timeless epic and any political saga could somehow be seen as inspired from Mahabharat. Raajneeti, doesn't have this subtlety. It overtly draws-in from Mahabharat. So - there is a ruling family. Bharati Rai (Kunti) abandon's her son, Suraj (Karna/AjayDevgan). She get married to the ruling family - she has two children and her brother-in-law has one (as apposed to 100!) The ruling party's president is taken to bed and there is a war of succession. His son Veer Pratap (Duryodhan) wants to be the president while his cousin Prithviraj Pratap (ArjunRampal/Pandav) claims that post. Veer Pratap (Duryodhan) befriends Suraj (Karna), a complete outsider to politics. There is Mama Shakuni, played by Nana Patekar - who (as per step 4) is on the Pandav's side! The conversation between Bharati and Suraj where she tells Suraj that she is her biological mother and that he should leave the opposition and join their side is lifted up from the Kunti-Karna conversation directly. The terms used - like "jesht putra" - shouted out loud that this is lifted form Mahabharat.


If you thought this was neat, Prakash Jha, intricately weaves, the Mahabharat tale with God Father's. Hence enters Samar (RanbirKapoor/Pandav/Michael Corleone). Though he is dis-interested in politics and is doing his PhD in the US, stays back when his father is murdered. (A sequence similar to Anil Kapoor's staying back in Virasat). He then, like Michael Corleone, takes charge of the Family and chalks out strategies. The sequence of car-blasting while the driver goes for a leak, the blood flooded dead on the bed, the peace treaty between the Families are some of the sequences directly picked up from God Father.

Considering the movie in its face value alone, it was a good attempt. The pace of the movie was fast enough to keep you seated. The whole screenplay was brilliant. The dialogues were very ordinary - a few however were absurd. Like:

Bharati's Father: Tum us do takey ke aadmi se pyar karti ho? (or something like that)
Bharati: Aapke liye toh takey hi sub kuchh hai na.

Katrina Kaif overtakes Ranbir's car.

Ranbir: Tumhare paas license hai? (or something like that)
Katrina: Kiska, gadi chalene ka ya tumhe kiss karne ka

The music was apt. Especially, Mora Piya song is good. The "disco" song was not needed - however, not being a full-length bollywood song, it didn't hurt. All the actors gave great performances. Nana Patekar does a good job by not mimicking himself. Naseerudding Shah is brilliant in his less-than-4-minutes role. However, Ranbir Kapoor steals the show. Brilliant acting by the newest offerings from The Kapoor Family. A special acknowledgment to the dress-designer. The long dupatta/stole worn by the politicians was cool and a little different from the mundane white kurta pajama.

However, if there were one thing i could change in the movie - it would be the ending. A party's president is taken-to-bed. Its second in command is killed. A major part of the party spins off. Still, that spun off party wins. I would have made a third party winning. Dividing a party divides the vote base - and it's more "real" that a third party wins. We have seen this in case of MNS being spun off from Shiv Sena.

Overall, it was a good movie with a lot things happening in three hours - Mahabharat and God Father. Despite drawing heavily from the two, it keeps you seated till the end. Not a great movie or a movie you would want to watch again and again - but worth watching it once, preferably, in single-screen theater.

Prince: After-thoughts

[Acknowledgment: Some of the ideas in this post is by Viswanath who bore this movie in an almost empty theater with me]

Software engineers are a different species altogether. The first noteworthy thing about them is the kind of language they use. They learn to use this "version" of the language to be impressive (as opposed to being expressive) and later on it becomes part of their lexicon. So, every 'problem' becomes an 'issue ' and the lessons learned become 'learnings'. They try to 'leverage ' their 'cross-functional' network to 'access' (instead of get access) the latest updates in their industry. Another characteristic of theirs is that they are 'liquid' - they would change companies more frequently than Shivraj Patil would change his clothes. It becomes very difficult for companies to give the client what they exactly want. Not that the clients are clear on this, but changing hands on the project has impacts on the final outcome. The project becomes similar to the broth spoiled by too many cooks.

Such mundane software engineers decided to make a film. Imagine - how could it be! First, the fascination for on-site made them base the film abroad. Having watched pirated movies like Matrix, Batman, Spiderman, Iron Man, Bourn Identity, etc with subtitles in their desktop when doing their engineering and then in their laptops when working - they added dollops such fight sequences regardless of their connection to the story. Not only these movies, but the action was inspired heavily by Max Pyne - their introduction to computer games (after Road Rash). So, the fight sequences and the location where the movie would be based were decided.

Like most software engineers, the story-writer post had new engineers quitting and joining almost every day. The resultant story was not much different from the software they make. Each engineer gave it the turn he wanted to give. Same was the case with other roles like screenplay. To give you an example - The climax of the movie is a pirated Da Vinci Code treasure hunt sequence. The hero and heroine crack the code and gets to the Holy Grail. Just then the story writer and the screenplay artist quits. To reduce costs, cheap resources were hired without much verification - not only because they wanted to meet the phantom deadline but also because there was no one capable enough to interview them. And the new hires called a LoveSong() function. So, the moment the Holy Grail came to their hand a love song where hero expresses his love to the heroine and vice versa comes!

But that's not it. Software engineers, after all, will be software engineers. So, the plot revolved around the innovation where a person's memory can be read and written into a chip. His brain can be formatted. And at a later point in time, his memory whose dump was taken in a chip can be re-written to the brain. In fact, you can delete certain files from the chip - in which case, when restored from the chip, the person's brain will not have those 'events' in the memory. Imagine if you could delete the memory of KKR's no-semi-finals-qualify hat-trick!

The software engineers try to be as real as possible. Just as you need to reboot your computer for any OS update to take effect, the person after installing an update from the chip to his brain or restoring to a previous restore-point need to sleep. Until he sleeps, he runs on the older brain version. And once he wakes up, he comes up on the newer version. However, the dreams that he may see when he's asleep are undefined - it could correspond to any or none of the software versions.

Attrition happens and an electronics engineer is hired. He thinks that rebooting a machine time and again would degrade the hardware and finally yield the machine dead. So, he adds to the story that the hero would die after six upgrades of his brain!

But one thing remains common across engineers - the dialogue of the movie. Throughout the movie a hook dialogue - "It's show time" - is used. This, perhaps, is like a recurring meeting notice pop up. This keeps reminding you that you are in a movie in case you are wondering 'main kahan hoon'.

3 Idiots is a favorite movie of most engineers as they can connect to its plot.They all want to be anything but engineers. These software engineers working on the movie also liked 3 Idiots. And being innovative that they are, they tried to improve upon it. So, if 3 Idiots showed the use of vacuum cleaner to do child delivery, this movie showed the use to vacuum cleaner to do diamond robbery. Isn't that a useful innovation! Now, while the hero is on-site - picking up diamonds like small pieces of stones with the vacuum cleaner, his offshore partner senses that the security is coming to catch him. He asks him if he should stop the operation - but then the on-site hero says one of the best dialogues in the history of world cinema - "No way. It's show time for plan B". Brilliant. Isn't it? Not only it's a great dialogue but it also has a moral - that one should always have a plan B.

After the robbery, the journalists throng at the site. A CBI officer is going in for investigations where he over-hears a reported rhetorically asking whether there were any locks. Hearing this, the CBI officer, Khan, replies, "Taale sharifon ke liye hote hai, Choro ke liye salakhein hoti hai." Now, isn't that mind-boggling!

The same CBI officer, Khan, tries to trick certain Mr Roy. Mr Roy says, "Khan, Don't act smart." To which, Khan replies, "Roy, But i am smart".

The whole film is filled with such uber cool dialogues.

The movie also conforms to the current Bollywood trend. Apart from the hero and heroine, only one person is shown 'good' in the film. His name is Khan and he is not a terrorist.

Like most engineers, these software engineers are also fan of cool Apple gadgets. So, they name one of the secret agencies as iGRIP!

But then - by jaisi-karni-waisi-bharni rule - a software engineer who copy-pastes others' code shall get his work being copy-pasted by others. After the movie was completed in the true software development method - the software engineers were partying and browsing a banned site. A virus in the form of a cookie (Kookie) Gulati'd (somersaulted) into the machine and uploaded the movie to its server and corrupted the original copy. The engineers got out of the grief of losing their work pretty soon. They, anyway, are used to shelf'ing their project.

This Kookie-uploaded-movie is released as Prince.

Atithi Tum Kab Jaoge? After-thoughts

Atithi Tum Kab Jaoge? alleviated my fears which were seeded in me by My Name Is Khan. My Name is Khan was more than just a movie. It restored the belief that India is still a secular democracy where, by and large, people have freedom of expression. It could not cowed down by the extremist groups. My Name Is Khan also marked the beginning of a change in the content of Bollywood movies - or so i thought. I thought that if mainstream masala movie directors like KJo have started making movies touching serious issues like disabilities, human rights, discrimination on the bases of race/religion, then who would make the all important tree-hugging, loud-farting, eye-dripping, hand-pump-pulling and short-term-selective-memory-loss movies? I was silently prepared for extinction of this great art. I even planned to start save-our-movies campaign on the lines of save-our-1411-tigers.

But, then, I watched Atithi Tum Kab Jaoge. And my doubts about the extinction of 'Bollywood' were nullified.

The trailer, or even the poster, is so apt that it tells you the story in such details that after watching the movie you will not find anything which you didn't predict. However, i was deceived by the star cast. With formidable Paresh Rawal, Ajay Devgan and Konkona Sen Sharma in the movie, i was hoping against my intuition that the movie would be 'different'. But the movie was not.

The movie, as you can make out from the poster, is about the 'adjustments' the Mumbaikars, Puneet (Ajay Devgan) and Munmun (Konkona Sen Sharma) and the villager Chachaji (Paresh Rawal) make when he comes to Mumbai to stay with them. As expected, the initial resentment by the city-dwellers is converted to affection by the 'idiosyncrasies' of chachaji. The clash between the city life and the village life which we are all very well aware of was the theme of the movie. Chachaji's reciting of bhajans instead of playing recorded beats, bringing anyone and everyone to house for snacks, demanding 4 course meals and interfering too much in the matters of family members brought out the features of villagers. However, his pure-at-heart and helping attitude win heart of everyone.

The movie is decently paced. The comedy, though predictable, would make one laugh out loud. Like characters in typical Bollywood movies, Chachaji had some 'trademarks'. Chachaji gurgles out loud in the morning (by village standards - which is equivalent to mid night for most city dwellers and time to go to bed for some call center executives). Chachaji doesn't believe in 'sursuri praan ghatak'; he patronages 'uttamam dhadhdhadhaat paadam' [If you didn't get this, you may want to revise the 3 Idiots shloka]. This leads Munmum to run around in the house with room freshener.

The music is decent - neither outstanding nor torturous. The acting by all the actors was apt and is the best part of the movie. The innocent and light-hearted comedy is good - in case you like such comedies and not the sarcastic, situational comedy.

Overall, it's a very average, very predictable, shallow-laugh-eliciting Bollywood movie. And am happy for it.

Bollywood is still alive!

My Name Is Khan: After-thoughts

Reviewers are alleged that they don't take the movie as is and try to figure out what it could have been. I have almost always reviewed movies the way they are. I'll, however, review My Name is Khan in two parts. First, the way the movie is. And second, what the movie could have been.

I found the movie between good and average. I tried to find a reason to it. I tried looking at what made the movie 'average' but couldn't find anything tangible. I wondered why Rizwan Khan, (pronounced from the epiglottis - this is not only for the Americans but also for some friends from the southern part of India) played by Shah Rukh Khan, is going after the President when his wife Mandira (Kajol), in her grief of losing her child, asked him to do so. But then i read that people having Asperger's Syndrome take things at their face value. Then i wondered, why Mandira didn't try to find him or get him back once she was out of her anger. Then i realized that she had lost her son - whom she loved the most. It may not be easy for a mother to forgive a person whom she thinks is somehow responsible for her son's death. I also found the "communal" angle to Sameer's (Mandira's son) death skewed. Nevertheless, i could understand the societal situation after 9/11 - almost anything was, perhaps, attached a communal connotation. Essentially, i couldn't find any logical flaw in the movie.

But, a movie is not a back-end software. It's not only logic. My Name Is Khan, somehow, couldn't strike a chord with me. 3 idiots, on the other hand had a lot of logical flaws in it. However, I loved 3 Idiots. Here, in My Name is Khan, i felt something was missing. I guess, the emotions could not be conveyed properly. There was a lack of finishing-touch. Feels were left 'half cooked'.

Kuchh Kuchh Hota Hai is one of my all time favorite movies. I also liked K3G a lot. So, probably, my expectation from My Name is Khan was a bit too much which it couldn't live up to. I know it's not right to compare the movies and have presumptions. But, i couldn't be neutral when it came to a movie which my favorite trio was making. There is one thing which ties the three movies together - use of well-known songs. Kuchh Kuchh used Raghu Pati raghav. K3G used Jana Gana Mana and Vande Matram. My Name is Khan used Hum Honge Kamyaab and We shall overcome.

There were a few things about My Name Is Khan which I really liked. The first and foremost being the title itself. Given the story of the movie, i don't think it could have a better name. Names like Kuchh Kuchh and K3G are too generic and could be applied to most Bollywood love stories. My Name is Khan is unique in that sense. Quite a lot of miseries which they face in the movie was because the name of the protagonist was 'Khan'. The whole movie revolved around it. The appropriateness of the title is commendable.

I also liked putting-into-perspective of a lot of traditional beliefs - like the sacrifice of Ismail and wearing a Hijab. I don't know what the 'right' interpretation is. But the one given in the movie seemed logical to me.

Another good part of the movie was the Indian Shaadi sequence. Though, it didn't really fit into the story, it was good! Also, the Wilhelmina sequences were by far the most interesting sequences of the movie. They were really fast paced.

The performances by all the actors were outstanding. Kajol did a good comeback. I, especially, liked the acting of Tanay Chheda as the young Rizwan Khan. Zarina Wahab, Jimmy Shergil and Katie Keane did their part well. The music, by Shankar Ehsaan Loy, was also good and relevant.

Despite all the tangible 'goods' i described. It was not good enough. Movie making is an art and there is no formula to it. As said in 3 Idiots, and coincidentally by Paulo Coelho, that one should do what one likes (and, hence, is good at). Karan Johar is good at conveying human emotions. He should stick to that. I would have loved another love story from him. Just like everyone in India wants to be either an engineer or a doctor, every director wants to make a movie either on some disability or communal tension. One must not get into the herd-mentality and stick to one's core competency. Aditya Chopra did that with Rab Ne Bana Di Jodi - he stuck to his competency.

Anyway, now my chance to give my unsolicited comments on what could have made a better story.

We have Rizwan Khan desperate to meet Mr President. He was following him everywhere. Now, the obvious thing is that the FBI or the American Intelligence would sense this pattern of a person following Mr. President. Isn't it? I guess, they should have caught him as a 'usual suspect' and, perhaps, imprisoned him. I would have ended my story there. In the end, Mandira gets back to her life alone. Rizwan is imprisoned. But, anyway, these are just my thoughts.

Overall it's a good-to-average movie. And wouldn't hurt anyone. However it's not one of the best movies by SRK, Kajol or KJo.

MJ-LOTD: A New Genre Of Dance

[For new readers, MJ-LOTD stands for Mundane Journey - Link of the Day]

Society and culture are not disjoint from people. Rather, by definition, they are connected to people. There was a time when people found it difficult to take off for five days to watch a cricket match and so was born 'One day' version of the game. And then came the T20 version which addressed to people's impatience and busyness. From the participant's perspective - we have 'galli' cricket, terrace cricket and parking area cricket - where we have innovative rules like - bat-touch-run, single-hand-single-drop-catch-out, no-drop-crossing-compound-out, etc. We need not know how to play as well as the Tendulkars and the Gangulys.

A similar thing is now coming up in the field of dance. There was a time when people had to dance in the conventional style regardless of whether or not they knew it. Remember Sunny Deol, Dharmendra, Kishan Kumar and the umpteen others who, because of not having a famous second name, couldn't make it to the screen?

For such 'dancingly challenged' people - below is the new genre of dance.




Though the whole sequence is to behold, check the following milestones:

1:50 - Clever usage of homophone, 'do' which, in Hindi, means "two" and "give".

3:38 - Clever usage of another homophone, "hi" which means "greetings" in English and refers to an expression of grief (or of relief) in Hindi.


5:09 - The only girl in the video (on the right-hand side) couldn't stand the 'Govida dance' of the men and fell down.

I wouldn't be surprised if we have dances in the above format in corporate, college and school fests. And when this would be happening, the Reality TV wouldn't be far behind in making a 'Boogie Woogie' for this dance form.

BTW, for those intrigued by the above video, here's the forefather "film version" of it. [Caveat: Watch it at your own risk.]

Cheers!


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3 Idiots: After-thoughts

Saari umra hum mar mar ke jee liye
ek pal to ab hamein jeene do jeene do

I heard a lot about it by my non-TJY friends while I was on the yatra. I also listened to and loved the ‘give me some sunshine’ being played on the PA system almost everyday while on the yatra! The euphoria which it created made me finally watch it. Yes, finally, saw ‘3 Idiots’ today. [I wish we had a way to make ‘3’ capital to indicate that ‘3 idiots’ is a proper noun and avoid confusion, if any]. But that was not the first thing which made me curious about the movie. Apart from Aamir Khan, despite his short-term-sanity-loss in Ghajini, the innovative way of promoting the movie drew me towards the 3 Idiots.

Sticking ‘Capacity: 3 Idiots’ behind autos was pretty innovative. It’s better than ‘Sanam Bewafa’ written on the auto's black backs with a heart pierced by an arrow. In addition to promoting the movie, it also had a safety message. People who have traveled in shared-autos in HiTec City, Hyderabad would know risky it is, in more than one way, to travel in an autorickshaws with 9 other people! Also, meeting the local people (instead of going to the high profile parties) was also unique. Given the theme of the movie and the fact that the movie viewers are common people who look up to such ‘starts’, it made sense to promote the movie that way. I think this is the first time such marketing techniques which involve common people was use. However, conventional way of marketing - creating alternate reality game, merchandising, etc - was also used.

‘3 Idiots’ is a good commercial movie. Generally, ‘good’ and ‘commercial movie’ don’t go together and are considered antonyms in some purists' dictionary.

The theme of 3 Idiots is not only fresh but also very relevant. Somehow, there is this obsession in India to go for engineering (and, perhaps, then MBA). Every parent wants his child to be either an engineer or a doctor. The most ‘logical’ think for a student to do if he’s getting good academic score consistently is to go for engineering or medical. A lot of other social issues were highlighted – parental pressure, teacher’s pressure and marks centric exam system (and education system, as a whole) which award the one who can cram the most. By hinting that the house of Raju (Sharman Joshi) was like that showed in a typical 1950’s film, Rajkumar Hirani showed that the evils of dowry still haunt India. Poor public healthcare facilities and inflation of food prices were also hinted upon in the form of comedy. Raising social problems with the help of humor is a rare art in Bollywood.

The music, the timing and the lyrics of the songs are amazing. Full marks to Swanand Kirkire for the poignant lyrics and Shantanu Moitra for the apt music. Aamir khan, Madhavan and Sharman Joshi did look like a college students. All the actors, including (surprisingly) Kareena Kapoor acted well. Scattering the use of science in daily life - like using the fact that salt water is a good conductor of electricity, etc – was very good which, I am sure, a lot of educational institutes will adopt. The story was well paced. The screenplay was very good. Moving the story back and forth in time added the element of curiosity to the movie as the audience continuously tries to join the dots. The climax of the film - Mona Singh's delivery - was like the final engineering exam! It covered a lot of concepts of engineering!

If Yash Raj were to move with time, back in 1990s, I would have projected them to make movies like ‘3 Idiots’. However, apart from the costumes, not much changed. 3 Idiots had all the basic elements of a Yash Raj movie and would perhaps bear the same criticism of critics that Yash Raj movies bear. 3 Idiots is a movie depicting an ‘ideal’ scenario and not a real one. 3 idiots ask people to follow their dreams. Great. Nothing wrong with it. But, from what I understand, the problem is that not many people know what their dreams are. Our dreams are limited by our environment and resources. A poor person who has to struggle to get his daily bread cannot dream of being a wild life photographer. Even, children form well-to-do backgrounds don’t know what career options are available. They are not exposed to a variety of things so that they can choose. All they are exposed to is Physics, Chemistry, Maths and the JEEs. In the movie, the protagonists knew their calling. This is an ideal scenario. This is similar to Raj Suri’s ideal love for Tani in Rab-ne, Veera’s passion for cricket in Dil-Bole and the love between Veer and Zaara. Ideal. Perfect. But not real. Changing of Boman Irani’s heart had shades of Mohabbatein. The ending also had Yash-Raj flavour to it. All the three 'heroes' are successful. Madhavan had wildlife photography books to his name, Sharman was successful, Aanir was super-successful, Boman Irani became a changed man (like Narayan Shankar of Mohabbatein) and most importantly, Aamir - Kareena got together. Like is Johar-YashRaj films, here also, the heroine gets to know of her hero on the day of her wedding with a worthless guy and elopes to go to her hero who fortunately is still not married!

The climax of the film was in someway like the 'Home Alone' movies. In 'Home Alone' the 'kid' uses available equipments in a very innovative way to save himself from the robbers. In 3 idiots also, Aamir uses various instruments like vacuum cleaner, camera blower, car batteries, inverters, web cam, etc to perform the delivery!

Overall, it's a paisa wasool movie. It would force you to think whether the work you are doing is what you really love. And, whether your wife and your girlfriend are the same!

Give me some sunshine give me some rain
Give me anther chance I want to grow up once again

PS: Just as I have not mentioned five point someone anywhere 'in' the review, the movie also had nothing to do with the book. The characters were picked up from there but the over-all plot and treatment was completely different.

Ghajini Revisted

There are certain movies which are so good that you would like to watch them multiple times. However, there are certain movies which are on the other side of the spectrum. You find them so bad, so ridiculous that you want to watch it again and again. For me, Ghajini falls in that category. I must have seen Ghajini about 10 times and every time I find something different – something strange that I hadn’t noticed in my previous views. Maybe, it’s my bad gauging power. Maybe, just as some people get a new depth, a new meaning, a new interpretation each time they read Bhagwat Gita, I find newer thing each time I watch Ghajini. [Click here for my review of the movie]

In my last iteration I figured that the end background music of Ghajini has been picked up from the signature music of the good old Dooradarshan. Check it out for yourself.

Go to 7:09. I know it's a torture. You may let the buffering to happen and then directly go to 7:09





Now, compare that with the Doordarshan signature music below:





So, it's not that only the Anu Maliks and the Pritams get inspiration from other sources. Looking at this, somehow i feel that just 7 notes (saat sur) are not enough. How much can one innovate with just seven notes!

Tri-Dev: Movies Mirror Society

Movies, like other art-forms, mirror the society. We’ve had movies like Do Bigha Zameen which mirrors the famine ridden and zamindars dominated Bengal of the early 1950s, A Wednesday, which depicts the terror ridden common man of the 2000s and his fantasies. The plot of these Bollywood movies mirrored the then society. This is one way to get a glimpse of the society the movie is depicting.

The treatment and the acceptance of a movie also throw light on the society. So, essentially, there are two variables - a. the supply side variable, which is the plot of the movie and b. the demand side variable, which is the treatment of the plot. I recently caught up with Bimal Roy’s Devdas. Having seen Sanjay Leela Bhansali’s Devdas and Anurag Kashyap’s DevD, I could see the difference in the way the films were treated. I take the example of the three portrayals of Sharat Chandra Chattopadhyay’s Devdas to describe how the treatment of the film mirrors the society. Here, the basic plot, more or less, remaining the same, we can see the way the portrayals of Sharat Chandra Chattopadhyay’s Devdas vary with the audiences they are targeted to.

Devdas, the novel, was based in the early 1900s. Devdas, the son of a rich zamindar, was sent to Calcutta to study. In Bimal Roy’s version, which was released in 1955, Dilip Kumar was also sent to Calcutta. In 1950s, perhaps, studying in Calcutta was a ‘big’ thing which only the privileged few could afford. However, in the 2000s, when the city had long become Kolkata, studying there would no longer be considered by the audience as ‘privilege’. So, both Shahrukh Khan and Abhay Deol are sent to England. In the story, sending Devdas off to a distant land to study is used to hint at the financial and social differences between Paro’s and Devdas’ family. Obviously, going to England would underline the difference to an audience of the 2000s than going to Kolkata (or Calcutta) which would have satisfied an audience of the 1950s.

In the Chattopadhyay’s and Roy’s depiction, Paro’s family ‘silently’ decided to get her married to someone richer than Devdas. In the 50s, perhaps, it was not acceptable for the ‘lower class’ to go overtly against the zamindars. But to the audience of 2002, it made sense that Kirron Kher openly and loudly announce in the big gathering that she would get Paro married to a richer family. However, for the 2009 DevD, the multiplex audience wanted Paro’s faithfulness to be an issue rather than her financial condition.

Year 2000 saw a major change in the tastes of the audience with the outburst of saas-bahu saga – Kyunki Saas bhi kabhi Bahu Thi being a major contributor. The 2002 Devdas saw Devdas’ sister-in-law ‘brainwashing’ his mother against Paro. [Now, this may sound similar to Manthara and Kaikai episode in Ramayana – I would, however, attribute this sequence in the 2002 Devdas to the saas-bahu effect. And also, I never claimed that the saas bahu saga is original. Did I?] 1955 audience being unaware of the 5 generations of ’ Kyunki’ did not demand such a sequence. A class difference was enough for them. However, 2009 DevD did away with the saas-bahu thing – showing the decline in its ‘demand’. The hearsay about Paro’s faithfulness was enough.

The portrayal of the courtesan, Chandramukhi, was also different. In Roy’s, Chandramukhi never got a chance to ‘enter’ the mainstream. In Bhansali’s, Chandramukhi gets to dance with Paro during Durga Puja and she gets to speak about her profession, her helplessness and her exploitations by ‘zamindars of good families’ amidst a big gathering of ‘respectable people’. Kashyap’s Chanda [Chandramukhi, being too long for a 2009 audience] studies in ‘mainstream’ college. So, while 1955’s Chandramukhi didn’t have a voice, 2002’s Chandramukhu was vocal and 2009’s didn’t bother – she was part of the mainstream anyway.

There are other differences which are common across the board between movies made in different times – like costumes, dialogues, songs, etc. I admit that quite a lot of how a movie is presented depends on the director. Bimal Roy didn’t deviate much from the original novel. Sanjay Leela Bhansali has this huge expansive (and expensive) canvas. Anurag Kashyap has his realistic and crude strokes. Despite the difference in styles, we can clearly see the impact of the eras in which the films were made.

MJ-LOTD: Waheeda Rehman and the Snake Dance

To quote from Wiki - Dance (from French danser, perhaps from Frankish) is a sport and art form that generally refers to movement of the body, usually rhythmic and to music, used as a form of expression, social interaction or presented in a spiritual or performance setting.

Seeing at a lot of dance sequence in contemporary bollywood movies, if feel that dance has become more about costumes and uncalled-for body parts movements than about expressions. The 'expression' part in dance is lost. Recently, i watched Guide and came across this not-so-popular dance sequence by Waheeda Rehman:




Now this is what i call expression! In the movie, Waheeda Rehman is crazy about dancing. She get married to a person who thinks dancing is not something a wife of a 'decent family' should do. Waheeda Rehman and her husband are on a trip to a village. Waheeda Rehman asks the guide to take her to a place where snake charmers perform the snake dance while her husband goes on his errand. While in the snake charmers' place, she couldn't control herself from indulging into her passion. Her gestures and her movements expresses the above story - through dance. Each and every beat in the song is utilized to the fullest to express the emotions. Amazing. I think this is one of the best dance sequences in Bollywood.

Dil Bole Hadippa: After-thoughts

Dil Bole Hadippa is a quintessential mass masala movie. It has all the ingredients required to cook a Yash Raj mass masala movie. I am using the template from Tarla Dalal's website to review the movie.

Name of the dish:
In our school, When reviewing a story/play, we were advised to write about the title at the end. This was because title is supposed to give out the overall idea and ethos of the story/play. So, once other elements of the stroy/play are reviewed we evaluate how good the title is in representing the story and the elements making the story. But i am violating that protocol and describing the title first (following Tarla Dalal). The name of this dish is very generic and any resemblance to the plot of the movie can be considered as purely coincidental. It however induces curiosity in the viewer as what the movie could be to have such a title - Dil Bole Hadippa (My heart goes hurrah). The curiosity, however, doesn't end with the movie. Looks like Yash Raj has bought a lot of 'such' titles in discount and is now using those randomly - Rab Ne Bana Di Jodi (can be used for most Yash Raj love stories), Ta Ra Rum Pum, Tashan and Salaam Namaste. Dil Bole Hadippa, looks like to be from the same pool and could have been used for any of the above movies.


Cooking Time: Doesn't matter. It depends heavily on the availability of the actors.

Preparation Time: The time required to teach Rani how to act out cricket shots.

Ingredients:
1. famous actors - Rani, Shahid, Anupam Kher and Dalip Tahil
2. Average bollywood masala music and dances - both are not really required.
3. Some fairy tale kind of a plot. [Sometimes i wonder, how useful would these yash raj movies be to the grandmas!]
4. Some very fashionable costumes

That's it. With the above four ingredients can make you heart go hurrah - at least, so is the claim

Method:
Bring a beautiful Indian village girl and an NRI guy together. Make them dislike each other initially. Make sure that the father of the guy likes the girl and thinks that she would be 'ideal' for his son. Now, add a dollop of, what the movies claim, 'indian values' in the girl. Now, add a tumbler full of dreams into the girl. And in the end make sure her dreams come true.

Garnish the dish with some India-Pakistan 'aman', come-back-to-india, eternity of marriage and gender equality messages.

That's it. You are ready with Dil Bole Hadippa.

Well, if you couldn't get any relation between the above and what is shown in the trailers, you are correct. For the sake of completeness i would mention it.

The movie is actually of only about 20 mins. How long is a purely detective movie if you get to know who the culprit is in the very beginning? The movie opens with Indian Tigers losing the India-Pakistan 'Aman Cup' for the 8th time in a row. Indian Tigers owner', Anupam Kher is desperate to win it the next time. His son (Shahid Kapoor) is shown to be an ace cricketer staying in London with his 'separated-from-Anupam-Kher mother (Poonam Dhillon). And Veera (Rani Mukherjee) is the best batsman (both right handed and left handed) in the village. That's it. It doesn't take one to write in Mundane Journey to fit the pieces together. The movie exactly does what you think it should do. And in the same precise detail you thought it would do. It even injured Veera's right hand so that she can prove her claim that she is both a right handed and a left handed batsman.

The one good thing about this movie is the performance of all the actors, especially Rani. She proved how seasoned an actor she is by playing the role of Veer (male) and Veera (female) brilliantly.

The movie, essentially, banks on two of the three things India is passionate about - Cricket and Pakistan (third being bollywood itself). The plot, however, is very old.

Dil Bole Hadippa is not a multiplex movie. So, be austere and don't waste your hard earned money on this movie in a multiplex, especially when you have recession in the US and drought in India. If you have time, you may watch it at a single screen theater that is at walkable distance from your house.

Think of environment before driving to the theater.

Cheers!

Kaminey: After-thoughts

If the ‘funda’ in Kaminey is to be logically extended, the quite a lot of ‘desi’ Gujaratis are lisps (totle). One of the first few and one of the last few monologues in the movie is ‘main fa ko fa kehta hoon’. In the movie Charlie (Fahid Kapoor) pronounces ‘sa’ as ‘fa’. Now, if this disorder is said to be ‘totlapa’, then the ‘disorder’ of pronouncing ‘sa’ as ‘ha’ should also be claimed as ‘totlapa’. Imagine a conversation between two persons with the disorder (the mehona flavoured – ‘H’ versioned)

A: Hi, kem chhe? [Hi, how are you?]
B: Bas, jhalha chhe! [ enjoying!]
A: Kaminey joi? [Did you see Kaminey?]
B: Na nathi joi. Kevi chhe? [No, haven’t heen. How ih it?]
A: ekdam firt claah chhe [Abholutely, firth clahh]
B: Em? Pelo Moonden Jhurni waro kehto to ke Hahid e haari akhon kari chhe [is it? That Moonden Jhurni fellow was haying that the ekhon (action) of hahid was good]
A: Haa – bahu hweet lagtoto [Yes, he looked really hweet]
B: Tu paachhi mari jode halis kale? [Would you again go with me for the movie tomorrow?]
A: Horry ho. Mare kale mol ma hopping karva javanu chhe. [Horry, tomorrow I have to go to a mol for hopping.
B: Thik chhe – hoon koi bija ne laijaih. Mari agar be free paahih hata. [Ok. I’ll take someone else. I had two free paaheh]
A: Oh – mare kale javanu canhel thai gayu. Ho halis tari jode. [Oh – My tomorrow’s plan got canhelled. I’ll join you]

Anyway, getting back to the movie – Charlie was ‘totla’ and Guddu (S..SS..Shh..ahid Kapoor) was a ‘hakla’, one who stammers. The plot of the movie is nothing out of the box. Everyone in the movie is ‘kamina’. There are about 5 ‘kaminey’ groups and the story connects and brings them together. Finally, in the tussle for power and in the quest for outdoing each other, all the kaminey kill each other. Only Fahid Kapoor, S..SS…Shh..ahid Kapoor and Priyanka Chopra lived through the story. The subplot which shows how the twin brothers got separated was very loose. An ordinary railway employee’s school going son having Rs 3000 and Charlie making it to 5000 by gambling on a roadside stall leave you wondering why at all it was added. Otherwise, the plot was just okay.

Shahid Kapoor is said to have ‘internalized’ Shahrukh Khan’s way of acting. The character of Guddu, who not only stammers but is also a ‘sweet-boy,’ makes Shahid more vulnerable to ‘internalize’ SRK’s acting. Priyanka Chopra did a good job. She seems to suit such de-glam’d characters more than ultra-glan ones (like that of a super-model in Fashion ). Amol Gupte did great job. He had the charisma that the character demanded. Bhope Bhau (the character played by Amol Gupte) is shown to be a local politician whose party is against non-Marathis. However, when he is offered huge amount by Guddu, a non-Marathi, he becomes pro non-Marathi and says that he would change to a party which is not against non-Marathis. The way his character turned 180 degrees makes us think whether the politicians really think about people – Or, is it for some personal benefit they play with the life of the commoners?

The songs are average. The background score during car chase and fights reminds you of the 80’s movies. The dialogues seem to be forcefully made ‘strong’. These dialogues reminds you of the 80’s and 90’s movies.

Paifa banana ke do raafte hai – ek fort cut aur dufra chhota fort cut

The lyrics are good. The hand held camera effect used in a few scenes was un-called for and makes the scene difficult to see. The movies pace is pretty good – with a few ‘slow’ moments. Overall, it if a ‘timepass’ movie and can be feen one time.
Remember, Charlie fa ko fa kehta hai?

MJ-LOTD: Zakhm

This weekend i caught up with 'Zakhm'- a movie which was in my to-watch list. And what a movie it was! Amazing. It was made at a time when Mahesh Bhatt was still making movies sans Emraan Hashmi and sans the skin show. The story is amazing. The movie holds your attention from the starting till the end. Moving back and forth in time,the story reveals itself in small installments. The acting of all the actors was apt. The music (by M M Kreem) is very unconventional though it used the conventional singers like Kumar Sanu and Alka Yagnik. I had heard (and liked) 'Tum aaye toh aaya mujhe yaad' before. But song, 'Hum yahaa', is very good as well. The lyrics of all songs are very contextual and helps in taking the story forward.

MJ-LOTD is the mellifluous song, hum yahaan, composed by M M Kreem. M M Kreem, i guess, is one of the most under-rated music directors in the Bollywood. Probably, because he doesn't do too many 'main-stream' movie.

MJ-LOTD: Best Actor 2009

Fashion seems to be a milestone in Priyanka Chopra's career. Why not? After all the awards she won!

In this clip from the movie Fashion - go to time around 9:00 minutes.

Observe that even before Janet completes her flattery, flowery "You were fabulous" - our best actor jumps up - "really!"

This is called knowing what other person wants to say. I wouldn't call it bad timing. I'd call it prediction. Meghna Mathur (played by Priyanka) seemed to be just waiting for Janet to complete 'Fabulous' so that she can say "Really!"

Check out my review of 'Fashion' in case you haven't

Enjoy!

Kambakkht Ishq: After-thoughts

I am not going to talk about how bad Kambakkht Ishq is. I am not going to talk about how loose the plot is. I am not going to talk about the senseless songs which pops in without any reason or season like eunuchs in sleeper class bogies of Indian Railways. I am also not going to talk about the just-for-the-heck-of-it 'item fight' (analogous to item song) sequence done by the great Sylvester Stallone. I am not going to talk about any such things. These are characteristics of most so-called main stream commercial cinema. And also, these are highlighted by most reviewers (and I am not going to play Anu Malik, Pritam or a software engineer here) . I would bring to forth things that make this film truly different.

This film gives us a new way to get people to shut up. You must have wished to shut your ever-complaining spouse when you forget to get that special ingredient while coming from office. Or you forget to make sure that his suit is pressed before that very important meeting. You also would have wished to shut your boss up when s/he gives some illogical reasons for not giving you that hike/promotion/leave/onsite-offer which you think you deserve. Kambakkht Ishq shows you a way. When Kareena (Bebo) was shouting at Akshay on the 'characteristics' of men, Akshay shut her mouth, literally, with his. So, now you know what to do when you want to shut Rakhi Sawant up!
Well, if you think this is cheap and rickshaw-wala standard, I'd leave that to you.

Kambakkht Ishq, also, shows us a new way to make an otherwise short dress look hotter. If you want to look hot, bend down by 37 degress. Make sure the camera is focused at those parts of the body which wouldn't have been otherwise visible had you not bent down and give a shake your garment the way you would do an almost-full-container so that it (the container) can have room for more flour. And do it just before you want to look hot. The effect may be lost after some time. Reminds you of some B grade movie? Well, if you think this is cheap and rickshaw-wala standard, I'd leave that to you.

This movie also helps us in cost cutting. A metal watch with alarm is 'left' into Akhshay's belly when Bebo operates him. Even then, Akshay doesn't have any 'side effects'. The next time you get a cut through some metallic object, don't rush for an antiseptic or tetanus injection. Chill. Nothing will happen. Just as nothing happened to Akshay. If you find this illogical, I'd leave it to you.

There are movies which are good and there are movies which are bad. There are good movies which you may not like and there are bad movies which you may like. Kambakkht Ishq falls into none of these category. If you feel the treatment of the illogical subject illustrated with very ordinary acting and intermixed with uncalled-for songs was cheap and rickshaw-wala standard, I'd leave that to you. It's your prerogative.

Cheers!

New York - A Review

New York, the first big release after the IPL and the T20 World Cup and the rift between the multiplex owners and the producers, elicits mixed reactions.

The plot of the movie is pretty fresh. It takes a fresh look at the impact of 9/11 on innocent citizens. The world dynamics irreversibly changed after 9/11. The movie depicts innocent people like Sam (John Abraham) becoming victims of the FBI's suspicion. It brings to forth the irony that in an endeavor to curb terrorists, the US is unknowingly creating new ones - the ones which has its origins linked to the 9/11. [I had referred to something similar in my post Live to die]The sub-plot of the victimized Muslim employee who was helped by Maya (Katrina Kaif), a human rights activist is very poignant. It shows the emotional reaction to the torture. Sam, on the contrary, gives an aggressive and a well thought of response to the torment. The theme of the movie – 9/11 ke side effects - is very novel for a bollywood movie. Aditya Chopra, the writer of the movies, deserves full points.

The NYSU part was a bit boring – it was like a conventional big budget movie. But the movie started gaining pace once we found that Sam was suspected to be a terrorist. The movie, then, went Don-way. The FBI appoints Omar (Neil Nitin Mukesh) as an undercover agent to gather evidence against Sam. The RDB style ending was good. Sam and his wife, Maya (Katrina Kaif) are killed by the federal forces even though Sam throws the bomb trigger and surrenders.

Despite having a very strong plot, the movie lacks in keeping up the pace. At times it was just getting too boring. The director, probably, wanted to show that the 'normal' American, NYSU life Sam was leading and how Omar became friends with Maya and Sam. Also, after the disclosure of the fact that Sam was a terrorist, the pace broke down again. Things become too predictable until the end is reached which is pretty unpredictable by the standards of the the series of predictable events preceding it.

The songs are good. It gels well with the movie. They are broken into smaller fragments and are timed such that they appear like background scores and aid the flow of the plot. The songs do not reduce the pace of the movie – the movie is self equipped with sub-plots to do this (slowing of pace).

John, Neil and Katrina did a decent job. Irrfan was playing in his home ground and so was obviously brilliant. Remember him in A Mighty Heart and Slumdog Millionaire?

The best part about the movie was the neutrality in tone it maintained through out. It was very easy for a movie on such sensitive issues to go on either sides. The movie admitted the mistake done in accusing innocent people, however it doesn't encourage the extremist path taken by those impacted. The movie, like any Yash-Raj movie, is very politically correct.

All in all, the movie has a good plot but not so good portrayal of the plot.

Antakshari

[Read between the lines - that is, refer to the links - to get the subtle political humor in the post!]

Samay bitane ke liye karna hai kuchh kaam,
Shuru karo Antakshari leke Uncle Sam ka naam

Ma -
Manmohan a bade jhoothe, Manmohan a bade jhoothe,
Haar ke haar nahi maane, Haar ke haar nahi maane [Video]

Na -
Nafrat ki duniya ko chhod ke
Pyar ki duniya mein
Khush rehna mere yaar [Video]

Ra-
Rabba mere rabba rabba
Rabba mere rabba
Is pyaar ko main kya naam doon [Video]


Da-
Dum maaro Dum, mit jaye gum
Bolo subha shaam, hare krishna hare raam. [Video]


Ma-
Mera kuchh samaan
tumhare paas pada hai [Video]


Ha-
Hum se tum dosti karlo
Yeh hasin galalati karlo [Video]

La-
Ladkiyon se na milon tum
ladkiya toh hai balayen
Subha shaam mat karo tum
Ladki Ladki Ladki Ladki [Audio]

Ka-
Kuchh to log kahenge
Logon ka kaam hai kehana [Video]

Na-
Nahi Nahi abhi nahi
Abhi karo intezar [Video]

Ra - ...


[If you can think of any *such* songs just key them in in the comments section]



- Cheers!

Aa Dekhe Zara

An Indian scientist has made a camera (among a few other gadgets – such as a clock) which has revolutionized the way people use camera. The camera can take a look into the future! Now I won’t go into the physics of it rather focus on the features of the camera.

Overview – A future time is fed into the camera. The photograph of the person whose future we want to see is clicked. When the negative is developed, we can see how the person and his surrounding would look at the same time on the future day that was fed into the camera.

Features – This camera is loaded with features. A few of them are mentioned below:
This camera has an in-built clock which keeps the standard time of the place the camera is in. If the camera is in India, it keeps the IST. So if you try to set present or a past date, it’d just not allow you to. Now if you go to some other country, say, the US or Thailand, it adjusts to the current time zone. When Simi clicked Ray’s photograph in India – with the time set to 5 days hence, the developed picture actually showed that he would be in Thailand at the same time (Thailand Standard Time) after 5 days! Chances are high that the camera even takes into consideration day light saving and multiple time zones in a country and any future time zone split.

The auto focus of this camera is simply outstanding. This camera ‘understands’ what the person, who would develop the picture, would want to focus on. When Ray was experimenting with his camera, he found that the both the mother and the child clicked needed to be focused on – so the photograph showed that after a day they would be free-falling from a giant wheel. When two persons are clicked and they are not supposed to be ‘together’ on the set future date, then the camera selectively gives you the future of the person you are concerned about. The best part is that you may also know the future of the persons you have not clicked. For e.g. when Simi was clicked in Thailand, we found that her under gun-point of a policeman. So, without even clicking the policeman we found his future! In mathematical terms this is called many-one function.

The camera is waterproof. Even if it is thrown into a pool from top of a tall Thai Hotel, it works absolutely perfect.

Challenges - Like all new researches there are a few challenges. The camera doesn’t have flash! So, if the light is not good, the photograph may appear dark. A blank photograph may imply that either the person clicked would be dead by the time set in the camera or there is not enough light to capture anything. It may also mean that the camera is damaged.

The camera is also not shock proof. If thrown into a well from the top of it, while a free falling person still holds the free falling camera, the camera would get damaged and would be rendered useless.

The camera accepts only future date as the input. It assume that the time one want to know about a person/thing on the future date is same as the time the picture is clicked. We cannot know future, say, five hours from now. The camera actually trains us to be in-time. If you want to know the future, you better ask the camera for it at least one day in advance (or in quanta of one day) else, the camera won't work. A clock, however, may be soon available where we can actually travel in time with the precision of a second!


Compliance – This camera is compliant with the destiny-only standard. Destiny-only standard asserts that everything that happens is pre-determined. We are just doing what we are destined to do. We are destined to see the future through this camera and we are destined to oblige to do whatever the camera predicted to do.

Now, let’s make this interactive. If you get this camera, how would you use it? Do put in your thoughts in the comments section. I am sure any and every reply would be better than what’s shown in Aa Dekhe Zara.
Let your imagination go wild!
PS: All characters (including the camera) in this article are fictitious and bear no resemblance to any person living or dead. Any similarity with anything living or dead is purely coincidental

Delhi-6 - Afterthoughts

The crusade continues. Rakeysh Omprakash Mehra continues providing insight on socio-political issues of India with Delhi-6. The movement started with Rang De Basanti continues with Delhi-6.

RDB brought to light the power of media and the power of the middle class. The 'candle marches' as a means of protest started gaining prominence. With Delhi-6, Rakeyesh comes up with another tool - a quaint old mirror. I wouldn't be surprised, if i read that there was a 'mirror march' to highlight solidarity and unity after a communal tension.

The film is full of symbolisms. First, the central character of the film - 'kaala bandar' is a symbol. 'Kaala bandar', which is nowhere shown in the movie, is described as the culprit of all communal problems. 'Kaala bandar' is that invisible, intangible element in each one of us that causes people to fight against people. . In the movie, by having Roshan (Abhishek Bachchan) - disguised as 'kaala bandar' - shot which pacified the rioteers, Mehra proposes that killing the 'kaala bandar' in ourselves shall end the communal tension.

Masakali, a bird, is also used as a symbol. Madangopal (Om Puri) loves this bird so much that he has tied it up so that it cannot fly and be with him. Bittu (Sonam Kapoor), his daughter, wants to be independent - wants to make her own mark. She wants to be an 'Indian Idol'. But Madangopal, like any middle class indian father, wants to marry her off. Roshan, who was brought up in the US, finds this similar to Masakali's plight and suggests Bittu to snap the tie and fly away.

The role of media, which was shown in positive light in RDB, was shown to be negetive in D-6. From the starting of the movie, the news channels were creating hype about the invisible 'kaala bandar'. I was thinking, if the bandar was invisible, how could it be 'kaala'? Or for that matter, how could it be a bandar? The news channels were shown to be more interested in sensationalism rather than in plain 'news'.

I really loved the nomenclatures. First, the movie title. Mehra and company could have named this movie 'Chandani Chowk' instead of Delhi-6 as both meant the same. The former would have had more recall-value. Remember how cliched 'Chandani Chowk to China' (dekha hai kabhi tune aina) sounded? But, by choosing Delhi-6, Mehra announced that his movie was different. Also, the name given to Abhishek's character was apt. Roshan is both a Hindu as well as a Muslim name. It suited well given that his father was Hindu while his mother was Muslim.

Now, the plot. The plot was like a roller coaster. The focus of the film seamlessly changed from personal issues and personal lives to societal issues where the characters which were developed in the first half of the movie became ordinary members of the society in the second half. The movie started with Roshan and his grandmother (Waheeda Rehman) migrating to India. In the airport, Roshan hears news channels telecasting 'kaala bandar' news. Roshan smirks at it - hinting at how ridiculous he thought it was. Little did he (or the audience) know that he'd have to play that role! In Delhi, Roshan is introduced to the 'Indian' way of life - the warmth, the affection. The Delhi-6 neighborhood is show to be made of both the Hindus and the Muslims - both staying in harmony. I particularly liked the dialogue of the sweets-shop owner that only animals eat to satisfy hunger; humans eat to socialise. How true it was. I remeber eating-to-satisfy-hunger only after a fast - all other times i eat because it was time for it - or because i wanted to catch up with a friend. Till interval, the little details of a typical Delhi-6 life was shown. the corrupt police officer and his tyranny were well portrayed.

Post-interval, things change unexpectedly. A 'baba' professed that 'kaala bandar' was creating havoc because a nearby mosque was build after demolishing a temple. This created communal tension in the area. People, who had lived as friends and family for decades, became foes overnight. Around the same time, Bittu was planning to flee to participate in Indian Idol. Roshan, dressed up as 'kaala bandar' expresses love to bittu and gets caught by the masses - and eventually gets almost killed. There was a 'mad' fakir, who roams in the Delhi-6 area carrying a mirror. Gobar (Atul Kulkarni) said that the 'mad' fakir's madness had some substance - that there is God in each one of us, and not in temples/mosques.

There is one sequence which i liked a lot. Gobar was named so as he was claimed to be stupid. To justify this, he was always asked to choose between 2 one rupee coins and a ten rupees note. Gobar would, invariably, choose 2 one rupee coins. Towards the end of the movie he justifies saying that if he would have chosen 1 ten rupees note, he would have lost those many 2-rupees he had been getting. Amazing! Who would like to kill the golden eggs laying hen? Or is it what we call micro-economics which Mohammad Yunus used in his Grameen Bank venture?

The character of Jalebi (Divya Dutta) exposes the evils of untouchability - which still prevails in the capital of India 60+ years after the Independence. The double standards shown by inspector Ranvijay (Vijay Raaz) - where he 'touches' Jalebi in the darkness of the night but maintains untouchability in the daytime is contrasted with the help which Jalebi does by giving her hair strands to Gobar. Gobar, however, couldn't get above his 'tradition' and asks jalebi to throw them in his hands without touching him!

Motorola also did a good job in advertising and branding it's products especially E8. This, unlike most in-film advertisements didn't hinder the pace of the movie rather aided it. However, this ad came in too late as it's almost a year since the E8 released in the market. Better late than never - only if it makes business sense!

The music of the movie is brilliant. The short songs doesn't stall the pace of the movie. As an album, it has a romantic song, a bhajan, a qawali, a high-beats song, a marriage song! A R Rehman proves once again that he is truly world-class. The lyrics by Prasoon Joshi are very relevant and show that good poetry can still be found in bollywood songs.

This film belongs to the same genre which Mehra started with RDB - starts with personal lives of ordinary Indians which becomes part of addressing a socio-politcal issue. If people call it a formula, so be it. In that case every movie can be put into a formula! Now, i want to see Aks. I want to see what Mehra did in his first movie. Also, I am looking forward to what Mehra would (or could?) come up with next. I cannot compare it with RDB - being an urban youth, i could connect well with RDB. But Delhi-6 is equally good. It's better than any movie i saw in recent times. It's a movie one can only experience!

PS: I delayed writing this review. I was worried if i can praise this movie enough as no praise is enough for it. It's so easy to criticize and so damn difficult to praise.

Slumdog Millionaire - Review

Slumdog Millionaire (SM) is nothing great. It just showcases the poverty of India to the western world. Something – they look out for from a movie based in India. This is what I had read/heard about SM. According to a great blogger it was a big disappointment Thanks to the ministers of AP I don’t really think so. I was late for the movie by some 20 mins due to traffic jam. Ah! Traffic jam seems to be one of the few excuses which, only on the face value, gets ready buyers. At least, I never bought it until I was stuck in a traffic signal for some 15 mins as some ministers were passing by on the other side of the road. Are you thinking why I thanked the ministers?

Anyway, when I entered the already settled theatre, Jamaal, had won Rs 16k. The next question was – “Who was the singer of Darashan Do Ghanashyam?” The depiction of the journey Jamaal had taken to answer this question was nothing but heart rending. I had only heard of the beggar gangs – never having experienced/seen it. The way the kids were made blind, gave the viewers a sneak peek into the world they had never imagined to be so crude – the dialogue of Salim that they scoop out the eyes with spoon reveals the agony. The winner, however, was the logic which Jamaal used to come to the answer. It takes much more than formal education to come to the conclusion that blinded beggars singing Darashan Do Ghanashyam pointed to Surdas. Even after watching the tragic scoop-out-eyes episode, my guess was Mira Bai! However, here there are two major assumptions made – Jamaal knew that Surdas was a blind poet and so did Mamam.

Salim’s dialogue – “The man with the Colt 45 says shut up” obviously rings out loud in Jamal’s mind when he was asked the question on the inventor of the first revolver. Even, the setup of the call center where he worked as a chaiwala whispered the location of Cambridge Circle.

The questions, however, were used as media to narrate the story of Jamaal and his mundane journey which may not sound mundane to most of us. The beggar gang racket, prostitution, gang war in the underworld were all touched upon while Jamaal walked his way to the hot seat. The thrill created in the movie was much more than most self-proclaimed thrillers.

Having really enjoyed the movie, I was curious to watch the starting 20 mins of the movie which I missed thanks to the minister’s travel. The first question on Amitabh Bachchan actually asked question on the standard of living of people in the financial capital of the fastest growing democracy. Though, I think, that the dip-in-shit sequence may not be “required”, but that brought out the intensity of the fan following of a crazy BigB fan. It’s not uncommon for people to write letters to the “stars” with their blood which, however, gets delivered (if at all it gets) to god-knows-what address or if one is lucky, to the servants/PAs of the “star”. Taking a dip in the shit in the spur-of-the-moment is what the innocent Jamaal, for whom BigB is the only God, the only way to get to his deity. Why on earth is this made an issue? Maybe, this has to do with our power of observation cup-shaped-curve. Our grasping power is the maximum in the beginning, goes down in the middle and goes up again at the end. I guess, a few eminent writers were not able to get out of the dip-in-shit sequence to truely appreciate the movie. I am just trying to guess as I thankfully (or ruefully?) didn’t have to see the dip-in-shit as the first sequence.

The communal riot sequence was also treated well despite the short time it was allotted. The fact, that by the night even Latika (Hindu by name) was left orphan along with Jamaal (Muslim by name) reminded me that the movie is based on Q&A by Vikas Swarup – a diplomat! Not only that, isn’t it so with any riot? People from all sections/religions die.

The acting of all the actors was great. The kids, however, stole the show – the credit of which goes as much to the kids as much to the director. Irrfan khan’s role didn’t have much scope for him to act. Looks like Irrfan is favourite of the Western Film makers. He is spotted on almost any western movie based on India. Ankur Vikal who plays the bad guy, Mamam, did a fantastic job. The music of the movie (by A. R. Rehman) blends very well with the flow of the story and adds to the subject. Anil Kapoor’s role was a bit negative. Even, his pronunciations were not okay - remember the way he pronounced millionaire as mill-i-naire! Also, the fact that he took the initiative to call the police was a bit filmy. This could have well been done by the producers of the show who, actually, need to fish out the money.

I had liked the first season of KBC a lot. I remember how the streets would get silent at 9 pm. Slumdog brings back the same enchantment of KBC only adding to it the thrill of living the life of Jamaal.

A so-called management guru claims that Slumdog Millionaire sucks. Another great blogger brushes the movie off as yet another indian-shit-showing-western-movie. The Biggest B says the movie is portraying the under belly of India . Personally I don’t know if Slumdog deserved a Golden Globe. Neither do I know the criteria for getting a Golden Globe. As an ordinary viewer, I thoroughly enjoyed the movie. The thrill, the subtle pointers to the societal problem of India, the way the story was told, the meandering path the story took from its journey from the mountain to the sea make it a good movie to watch. Let's, for the time being, forget the nationality of the director/producer. Let's forget that this film is made for western audience and that it is only meant to showcase the dirtier side of India. Let's, for one time, watch this film with a neutral mind and without the pride in our prejudices. I am sure, you'll enjoy the movie - Oscar or no oscar, Gloden Globe or no Golden Globe. There are tons of great work being done across the globe - most of which don't make it to the silver screen. Given all that, watch SM just as a movie; and you may well end up grabbing an original copy of it for your collection.

- Cheers!