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Also The List is in no particular order!
Dangal is very special. Ultimate mix of technical film making and popular cinema
Dangal (9/10) is the kind of film for which the 70mm medium exists. It has universal appeal, is technically brilliant and more than anything else it is a film that skillfully balances popular sentiments and realism. It is going to reach tens of millions of people without having compromised the quality of storytelling.
An extraordinary story of some extraordinary people who not only conquered their fears but also a society which had the negativity to kill their dreams even before they were born.
If Chak De was a fine example of exemplary editing in a sports film and Pan Singh Tomar was an exceptional sports film with great depth and realism, Dangal would forever be remembered as one of the best Indian sports film for the sheer reach it will have. Wrestling is a fast paced technical sport. To make the whole thing look as authentic as it has looked in the film, it would have required some meticulous planning and extensive training and they have done it really well.
The fact that you feel the frustration that Mahavir Singh Phogat feels in the final scene and you along with the whole audience begins to clap after each of Geeta's winning bout as if there was a live game at display shows how supremely engaging the film is. One negative, though not significant enough to harm the film is that it has over dramatazied the narrative at the cost of slight misrepresentation of the facts.
Only if the majority of Indian film makers could realize that it is not impossible to make good cinema with popular appeal, we would start getting more than just a couple of Hindi films every year worth watching. Now is a good time to list Top Films from India in the Sports/Drama genre: 1)Paan SIngh Tomar 2)Dangal 3)Chak De India 4)Iqbal 5)Jo Jeeta Wohi Sikander 6)Lagaan 7)Bhaag Milkha Bhaag
Shoojit Sircar's film for your body and your soul. Amitabh's best in years. Masterfully done.
Just like Bhashkor Banerjee doesn't like liars I wouldn't want to keep my readers in dark for long. I just loved the film. I loved each bit of this film from the core of my heart. It is the best (if there is any other) slice of life, road trip film to have come out of Bollywood in recent history. The film has all the ingredients to be a wonderful cinematic journey and it just doesn't fail. It has the star of the millennium leading from front. Many would also go to the extent of calling him the actor of the millennium as well and I would rather choose to agree than to disagree. It also has one of the best character actors that Bollywood has today. It also has someone by the name of Deepika Padukone who is no way close to the other two when it comes to acting but she is learning and she must get the credit for that. Not to miss out on the fact that she also manages to take your attention on the screen away from none other than Big B himself, courtesy her charm. She plays her part well enough to make the film a joyous journey. And over all this you have Shoojit Sircar, who has now started to show glimpses of brilliance through simplicity, a tag that has been associated with Basuda and Hrishida for long. He seems to have perfected the art of taking difficult subjects and turning them into supremely smooth slice of life films.
The film never gets distracted from its central subject which is Bhashkor Banerjee's stomach just like the Banerjee family never gets time to discuss anything else. The film is a joyride for the whole of 2 hours and 5 odd minutes. It makes you laugh out loud for phases lasting from few minutes to tens of minutes, only to slice new layers of sensitivity in the next few. Even though the span of the film is a few days, Sircar so skilfully is able to show us the deeper traits of all the characters that you begin to relate with each one of them. There are hardly any weaknesses in the film, but the strongest of strengths is the realness of the film. There are quite a few slice of life films that Bollywood has been able to create in last few years, none is as natural as this.
The film begins with a lot of fast edits, which are required when you have a real Bengali situation with real people trying to make multiple points unintentionally moving towards a chaotic confluence of non-ideas. The film could have easily made use of quite a few cinematography tricks to please you on the road trip, but why would it ever need to con the audience when it has such amazing character waiting to give you a free laugh and a cheerful tear. Instead, he uses Anupam Roy's brilliant voice and composition to blend with the screenplay. There are surely quite a few stereotypes that the film breaks and at the same time there are few it doesn't because some stereotypes just don't go.
At 70, Amitabh Bachchan is still at the top of his game. If you have ever been a big Bachchan Saab fan and have not got the best of him lately, this is going to be your dope. His comic timing will put all comedians of today put together to shame. The way he has played the part of an over anxious, ageing and well-meaning Bengali is only something that he could have done and no one else. Needless to say the reason why Irrfan Khan is who he is today is his natural dialogue delivery and he does it again. Every time he delivers a dialogue or even when he communicates in silence, it becomes a treat to watch.
As the story of the film moves ahead, the landscape shifts from the crowded Delhi roads to the 'cultured' streets of Calcutta. Each frame shot in the last 20 minutes of the film will rekindle your love for the city of joy and would want to make you go there again, not just for the aesthetics of the frame but because it speaks through the character of its wood and the structure of its soul. I would not want to spoil anything for you, but I can not not mention the scene where the 70 year old Bhashkor Banerjee rides a bicycle and wanders through Calcutta's core with the look of a child. You would want to watch these five minutes again and again.
Go watch Piku today, and don't just leave it at the theatres, bring it home through your heart
Dark, Intense and Disturbing : A tale of wretched human motives
It is one of the best to have come out of the Kashyap factory in terms of script and characters. It is one taut, dark, intense and disturbing tale of wretched nature of the human motives and how the grand plan has it's own way of laughing at those.
Interestingly Ugly through each of it's elements will take you back to Kashyap's previous works and remind you why he is truly the king. The brilliant script writing will remind you of Black Friday, Kashyap's first masterpiece. The excellent visual treatment, even though it's not a feature throughout the film is something without which any of AK's films is incomplete. The trippy background score by Brian Oncomber is the stand out feature in the second half of the film when the film begins to approach the tipping point.
Without doubt, the hero of the film is it's characters. Rarely would you come across a film full of complex characters, where the motives of every action of those characters get automatically clear as the story progresses. You do not know what to appreciate more, the courage with which the director is bluntly showing the depraved complexion of human nature or the ease with which that has been knit in a story.The non linear nature of the storytelling in the first half brings the necessary variation which adds to the build up.
Rahul Bhat who is seen on screen after a long gap tells you why there is no dearth of excellent character actors in the country, it's just that there are not enough roles for them. Vineet Singh, aka Danish Khan from GOW, will make you cringe and laugh with the expletive chain reaction. Ronit Roy, in his second powerhouse appearance in a Kashyap production, is perfectly cast. And one performance which is straight out of life is of Girish Kulkarni, as the police inspector. There is as much sincerity in his laugh as is in his sombre face. The one liners are so on mark that you would forget that there is a reel rolling.
Surely, the film has some of it's elements similar to that of Fargo, the classic Hollywood dark comedy, but it never plays on your mind, so it wouldn't qualify as lifting. Kashyapwa has done it again. Can't believe what made them to hold the film for so long.
Dear AK, you are the dark shining light of Bollywood. Keep'em coming
Inside Llewyn Davis (2013)
Coen Brothers' ode to the heart of a true artist
Inside Llewyn Dewis is not a quintessential Coen Brothers' movie. It ain't dark. It doesn't have cold humor. It won't stay with you all your life. But, it is still one hell of a movie. Technically, it is as good as any period musical drama character study can get.
It is a story of the journey of an artist and a celebration of a musical form, the folk music. It is about the heartbreaks and 'no breaks' that an artist can get if he is not ready to compromise his standing on the manner and style of creation and display of the art form which gives him maximum pleasure and satisfaction. Inside Llewyn Davis literally takes us inside the heart of a true artist, how fragile it is and how that fragility, those sentiments translate into his works, in this case, his voice and his music.
It is a lovely movie and thank god there was Oscar Isaac, a Julliard graduate singer actor because it is hard to imagine anyone else doing justice to the role. Carey Mulligan in her short part in the movie, once again reminds you of how she made you fall in love with her in her previous movies.
Anyone who has ever felt the need to create art and has felt a special connection between his feelings and the desired output, you are in for an amazing ride.
American Hustle (2013)
Originality, Style and Wit written all over it
David Russell is on a roll. He is reinventing himself with every movie. Thanks to his splendid filmography till date, we know that he has his own and enviable style of humor. In Silver Linings Playbook he created a new genre called serious dromcom. In American Hustle he steps up and infuses humor in a rainbow of other emotions with typical Russelesque style, a style which is shockingly original and entertaining.
A lot of credit should go to the fact that he has used his tried and tested cast in ever versatile Bale, coming of age -Cooper and one of the most promising female actors of these times in Jennifer Lawrence ( Oh! She is so lovable). She is so bloody convincing at everything she does that its almost impossible to not travel with her whenever she is on screen. Jeremy Renner as usual gets into the skin of the character without fuss and Amy Adams can take your breath away while she is trying to play seductive games with Bale and Cooper.
The USP of American Hustle does not lie in its story (it is like so many other con movies that we have seen in past), it lies in the depth and range of human emotions and behaviors that have been covered and presented with amazing ease, butter smooth camera work, epic one liners and utmost attention of detail. Respect Mr. Russel.
12 Years a Slave (2013)
McQueen's poetic justice to the menace of slavery
Arguably the most remarkable movie ever made on the freedom of human soul along with Schindler's List, One Flew Over The Cuckoo's Nest and The Shawshank Redemption. If this piece of cinema can not make one respect and value one's freedom more, only actual loss of freedom will. It is hard to watch and harder to ignore.It is unflinching and provocative.
Steve McQueen has surpassed his previous works by miles when it comes to the scope of the theme, story telling, making the audience part of his vision, detailing, replicating costumes, tenor, sensibilities of a period dating more than 150 years back. At times, when he has juxtaposed silence, motion, sound and beauty of nature with the actions of characters/situations in the movie, he reminds you of Terence Malick, just that the message here is equally beautiful yet less ambiguous and more purposeful.McQueen has not for once held himself back and as a result created some absolutely unforgettable scenes and it is impossible for the viewer to not get absorbed by those.
The casting couldn't have been better. McQueen sticks with Michael Fassbender for the powerhouse character of the movie, the ruthless slave owner. Paul Dano, Benedict Cumberbatch and Brad Pitt are all cast almost perfectly. And with the superlative performance that Mr. Chiwetel Ejiofor has delivered, there is no doubt that we have 3 top contenders for the Oscars with Matthew McConaughey and Leonardo DiCaprio filling the other two spots. It would be completely unfair to not mention the young actor, Lupita Nyong'o for playing probably the most difficult role in the movie.
The background score is minimalistic but even with limited scope only Hans Zimmer could have communicated the emotions of the scenes as powerfully as they have been depicted through the visual medium.This one is a must for everyone to have in their personal library because you will surely want to watch it again
Haider: Literature on screen. 'Bard'waj's best!
So, hours after I have finished watching the best movie to have come out this year( by a margin), I am finally in a condition to write anything about it. I am going to stick my neck out and say, Haider is the best work of Vishal Bhardwaj till date.
There is no doubt, that for a story driven by passion, revenge, love and power, where emotional dispute forms the core of it, no land other than Kashmir, which has been living under the clouds of dispute ever since, would have been a better choice as the setting for the adaptation.
The film is haunting and engrossing. It seamlessly adapts Hamlet and at the same time creates unforgettable characters of its own and makes us see a complex world through their eyes. I can't recall any other film which has completely been shot in the valley and surely none depicting it in all it's glory.
The film takes off with the event around which the actions of all the the players of the movie would revolve. One gets only the first hour to get to know the basic nature of the characters as platform for the mind blowing second half is being built. At the cusp of the interval when an ever assured Irrfan Khan makes an intriguing entry, you only get a hint of things to come.
The second half unleashes on you Shahid Kapur, who for the first time in his career shows glimpses of Pankaj Kapur. Those three minutes ( you would know which when you watch it ) where Shahid displays what all he is capable of, are those you would want to watch again and again. Kay Kay Menon is now a veteran and he doesn't disappoint.The only weak link to this extraordinary cast could have been Shraddha Kapoor, but she surprises everyone with a very composed yet captivating presence on screen. The heart of the film lies in the eyes of Tabu who makes the movie as deep as the depth of her eyes and as intensely beautiful as her voice. As we hear that Vishal Bhardwaj was not ready to make the film without Tabu, you will believe it once you have watched the film.
There is no way you can expect anything short of the best from the dialogues and music, when Gulzar Saab and VB themselves are at helm and they ensure that you do not fall off track even for a moment. A cinematographer can hardly mess it up when you are shooting in paradise. After a brushstroke in Rockstar and a miniature art-piece in Lootera, we get to seethe full painting of Kashmir in Haider. There are enough funny spots in this dark tale of complex emotions,thanks to the fact that Salman Khan had long hair during the period the movie is set.
The film has various undertones which were obviously part of the play as well. It would have required a director and screenwriter who is at the peak of his direction and writing skills to have made it happen. The dexterity with which Vishal Bhardwaj has been able to pull it off shows us why he is probably the best in the business in India. I feel, it requires at least another watching before one can completely absorb the enormity of the work that has been created.
Salute Vishal 'Bard'waj. Go get Haidered because rarely do you get a chance to read literature on screen.
Worst is the Dhoom 3 Year of the Movie
Didn't that mean anything ?
Oh Yeah, you are absolutely right!
Dhoom 3 is exactly that - MEANINGLESS
It has already taken 3 valuable hours of my life.
It doesn't deserve a review longer than this.
Aamir Khan - You have lost a lot of respect.
Not only because you signed for this movie. But also because your acting sucked royally.
YRF - This is no way to make money.
Abhishek Bachchan - Dude, just do something else. Uday Chopra is smarter. He has already quit acting.
Cinema is dying a slow death.
A 'Beautiful' Bond Job!
You grab your seat, with a bucket of popcorn, anticipating a bond-wagon to roll you over and you see a start which is perfectly in line with that anticipation- a mad chase in a Non-British, Non-American country which provides cultural variety, crowded streets, colorful landscapes and everything one has traditionally associated with a location for a spy chase sequence. Even before you get a chance to settle in, you are asked to get ready for a trip as start credits begin to roll along with some brilliant visuals and trippy music.
I have always considered Bond movies as wholesome entertainment packages with which a lot of famous names have been associated over years. I could never see it fall in the category of serious cinema where I would want to spend a lot of time. But I was pleasantly surprised and was full of hope the day I got to know that Skyfall is being directed by none other than Sam Mendes who has created more than one masterpiece in his not so long career and is a master at slow plot building/twisting and also loves to create life like characters who are complicated,dark and layered.
Skyfall is a rare experience in itself .It is a blend of what Bond movies have stood for over five decades and what Mendes has perfected as an art. It is that rare bond movie where scenes are not exhilarating but are absorbing in nature. Here, director doesn't want the adrenaline to rush but wants your senses to go numb and flat before they surge back with a different kind of excitement. Skyfall is by far the most beautifully shot Bond movie ever. The climax sequence which is being shown to be happening at the time of dusk in some beautiful Scotland countryside location is one of the most hauntingly beautiful shooting sequences that you will ever come across. The manner in which blueness of sky and the glow of fire and bulbs complement each other is a sight to cherish. The portions shot in Shanghai and Macau are neither loaded with nor devoid of what you are used to see in a Bond flick but refreshingly suck you in the scenes through beautiful frames and lighting and most importantly a surrealistically relaxed treatment.
In times where Nolan has created the most revered anti-hero character, it is very natural that any director, how so ever acclaimed he might be would tend to get inspired by the character of Joker (The Dark Knight). It would be extremely unfair to say that Mendes and his writers drew inspiration from Joker's character while they created Silva's character for Bardem but there is no doubt that there is uncanny similarity in the development and treatment of both these characters. Javier Bardem plays a fantastically devilish ex-agent of MI6 who takes the path of cyber- terrorism to seek revenge from M, the head of intelligence wing of British secret service played by Judi Dench. She has played her part satisfactorily as required by the plot but the expectations are much higher when an actor of her caliber is cast in a production like this and that certainly is an area where Skyfall could have thrown few more punches.
Go and take a plunge in the world of Mendes's Bond. It could work for you just like it worked for me but I have a feeling that a lot of 007 aficionados would feel a little cheated.
Ladri di biciclette (1948)
Bicycle Thieves - Steals the Show, Immortally
It is an immortal classic and now I know why. What a brilliant piece of film making at display! It is close to impossible to better this piece of work for many reasons, most importantly because it would take an event of the order of WW II to be able to do that. Of course, one can recreate it through a period drama but you can not recreate what isn't real(or neoreal) anymore with the same effect.
The movie depicts the social,economical and cultural panorama of Italy(focus on the lower/middle class) which is still suffering from the after effects of the war and is trying hard to limp its way out of it. Vittorio De Sica shows it all without ever focusing on it but through a very simple story in the forefront. There is no fuss around the story, there are no sub plots, there aren't any superfluous scenes either. The plot is as simple as it gets. It's the reality of characters and the treatment given to the film that creates a winning combination. The skill of director is such that withing ten minutes into the movie, one starts to relate with the protagonist and empathise with his situation. This certainly doesn't happen because of the problems and challenges the protagonist faces. Its the liveliness and realism that each frame of the movie possesses that completely absorbs the viewer into it.
The impact of the movie is accentuated because at the center of the plot lies a father-son duo. Its a relationship which is mostly understated be it the reel life or the real, which of course opens up the possibility of multiple layers. Once there is so much screen time available for this relationship to be portrayed, magic is always on cards, all it takes is a magician who can play the tricks right from his heart and for once not keep anything away from his audiences. This is exactly what Vittorio has been able to do here. If, like me you have also seen Life is Beautiful(1997) before Bicycle Thieves ,you will constantly be reminded of Bengini's masterpiece and which will in a way amplify the goodness of the experience. The fact that the kid here was also (Just like Lamberto was not a pro prior to this role of his) directly picked from the streets gives an immensely raw and mature feel to the kid's character and that reflects directly in the quality of each scene.His expressions, mannerisms,and specially the reflexes are too real to have been directed by anyone.
The brilliance of the movie also lies in the fact that it is being filmed in the same city of Rome which has those typically beautiful Europeon streets, lanes, walls, bridges and markets. These characteristics would have otherwise perfectly catered and serviced to the tastes of people who have special liking for these but yet the plot and its presentation is so strong and gripping that one hardly gets a chance to wander away from the core of it.
Bicycle Thieves, which is nothing less than splendid till its final chapter begins to unfold, transcends into the realm of immortality within a matter of minutes with what transpires. In those few minutes, you would look at yourself inside out (there are chances you might end up feeling naked), you would see those 'moments of truth' from your past flashing past your eyes at frantic pace and you are bound to experience a range of emotions at once. This was one of the very few occasions in my film watching career where I have found myself inside the frame as the movie begins to throw the end credits