A good picture; with just two changes it would become a great picture that would stand the test of time.
1. The undertone of Anglo-centricity and colonialism does not make for good modern-day viewing. Shangri-La is arguably more civilized than the world these self-proclaimed European rulers inhabit, and yet it is proposed that an education in the English language administered by average Europeans is the tonic to civilized these 'uncivilized' tribal folk.
2. Conway, upon hearing from Chang that one does not age in Shangri-La, isn't beset by fear about the addictive qualities of the place. For a man appointed as the leader of his crew, he should be more able to plot, negotiate and lead his people.
Beautifully directed and designed, however, and well worth the 2+ hours I spent to watch it.
Reviews
10 Reviews
Go Straight Take Left
(2018 TV Movie)
Thanks for bringing quality English-language sketch comedy to India!
6 November 2018
I've been a fan of Naveen Richard since his viral video of 'The Seinfeld Situation' hit YouTube years ago, and I really liked his web series 'Better Life Foundation' with Sumukhi Suresh. They make a good comedy duo.
'Go Straight Take Left', their new show on Amazon Prime Video, is a solid attempt at bringing sketch comedy to Indian screens. Sketch comedy isn't for everyone, but with good writing and comedic timing it can go places. That's exactly what Richard and Suresh are able to bring to the table.
Admittedly, some of the sketches work better than others. But it's these high notes that you take back with you as memories of an hour spent having had a good hearty laugh. Great job!
9/10
'Go Straight Take Left', their new show on Amazon Prime Video, is a solid attempt at bringing sketch comedy to Indian screens. Sketch comedy isn't for everyone, but with good writing and comedic timing it can go places. That's exactly what Richard and Suresh are able to bring to the table.
Admittedly, some of the sketches work better than others. But it's these high notes that you take back with you as memories of an hour spent having had a good hearty laugh. Great job!
9/10
O Kadhal Kanmani
(2015)
Chauvinism passing off for feminism
27 July 2018
Warning: Spoilers
I watched OK Kanmani (admittedly a few years late as I usually do), as far as possible unbiased by in-theater experiences, post-theater discussions on the songs / the hotness factor of the stars and of the dance numbers, reputation of the director etc. I get what Mani Ratnam is trying to portray. It just wasn't done with the care it takes.
OK Kanmani attempts to show an India developed in its mindset towards relationships: one in which the youth are open to non-marital love and are encouraged in their desires by equally open-minded adults. At first, it feels like a fresh change - the female lead (played by Nithya Menon) is brash and blunt and doesn't care what people think. But it eventually reveals itself to be just a hoax: she is as choiceless as most female characters in the stereotypical Indian film.
She is the first to betray her true emotions; storming and raging when he leaves for a couple of days with no explanation offered save for his usual chirpiness and boyish cheerfulness. She is "allowed" by him to go off to Paris and pursue her career; if she marries him in the end. They eventually do get married; despite every indication that they were against the very concept.
Maybe Kollywood will truly rise up and give female characters a true "lead" role in the future. But OK Kanmani should be remembered as one which failed to hit that mark. It should only be remembered as male chauvinism passing off for feminism.
OK Kanmani attempts to show an India developed in its mindset towards relationships: one in which the youth are open to non-marital love and are encouraged in their desires by equally open-minded adults. At first, it feels like a fresh change - the female lead (played by Nithya Menon) is brash and blunt and doesn't care what people think. But it eventually reveals itself to be just a hoax: she is as choiceless as most female characters in the stereotypical Indian film.
She is the first to betray her true emotions; storming and raging when he leaves for a couple of days with no explanation offered save for his usual chirpiness and boyish cheerfulness. She is "allowed" by him to go off to Paris and pursue her career; if she marries him in the end. They eventually do get married; despite every indication that they were against the very concept.
Maybe Kollywood will truly rise up and give female characters a true "lead" role in the future. But OK Kanmani should be remembered as one which failed to hit that mark. It should only be remembered as male chauvinism passing off for feminism.
Great Expectations
(1946)
One of the greatest books ever written, and its best film adaptation
25 July 2018
Warning: Spoilers
This is a fabulous adaptation of Charles Dickens' magnum opus. The performances were marvelous all around, with special mentions to Finlay Currie (Magwitch) and Francis L. Sullivan (Mr. Jaggers). Further, the dialogues taken verbatim from the source material served to appease the biggest fans of his work (among which I must, with no restraint, count myself as one).
The only qualm I have with this film is that it is guilty of overlooking some key moments and plot threads which made the original work the true classic it is. I speak not so much of the creative licence which justified some subtle deviations at no cost of diluting the storyline, but rather of outright omissions such as Magwitch's account of his miserable past, Orlick's twin assaults and Pip's tear-filled apology to Joe on his final return. I also felt the ending did not do Dickens justice; it felt unnecessarily rushed and passionate for an exchange should leave the viewer still wondering.
These musings aside, Lean's Great Expectations (1946) remains a classic in its own right; one that stands alongside Dickens' work as an equal.
9/10
The only qualm I have with this film is that it is guilty of overlooking some key moments and plot threads which made the original work the true classic it is. I speak not so much of the creative licence which justified some subtle deviations at no cost of diluting the storyline, but rather of outright omissions such as Magwitch's account of his miserable past, Orlick's twin assaults and Pip's tear-filled apology to Joe on his final return. I also felt the ending did not do Dickens justice; it felt unnecessarily rushed and passionate for an exchange should leave the viewer still wondering.
These musings aside, Lean's Great Expectations (1946) remains a classic in its own right; one that stands alongside Dickens' work as an equal.
9/10
Heidi: A Girl of the Alps
(1974)
The meaning of the word 'nostalgia'
26 December 2017
There is nostalgia in everything this show represents. The nostalgia of being a kid with not a worry in the world, of living in the countryside among the animals and breathing the fresh mountain air, of riding the proverbial rollercoaster of emotions with every small joy or sadness that life brings. I loved this show when I was 8 years old, and I love it even more now I am 26. What has changed is my understanding and appreciation of the motives of the full cast of very realistic characters.
In India growing up, this was a cartoon I would wait to watch with my two brothers (we weren't pushed into watching it by a girl, as some might assume) every day. Growing up, I was glad to come by this show which was very different from the usual stories with pre-conceived good-vs-evil moral commentary. As an adult I realize that every child (boy or girl) must watch this show because it teaches lessons in kindness and enjoying the simple pleasures in life that one wouldn't necessarily learn in school or from their parents. In that way, it is more complex than the cartoons kids are usually exposed to. Although I watched the English dub when I was a kid, I'm watching the original Japanese version now and I've learnt enough Japanese to comfortably understand it even without subtitles :D
As others have said of this show, it has brought me to tears on a number of occasions. I don't know if it's because of said nostalgia of my childhood, when I was living with my grandparents who I miss to this day. It could be because everything this show does is perfect -- the stories, the characters, the music.
I recently watched Heidi with my mother (she is going on 56 years old now) and she couldn't help but cry on several occasions, despite having never watched the show before. A true reflection of the ability of this show to cross boundaries.
10/10
Kaseifu no mita
(2011– )
A family drama with mystery elements that picks up pace gradually
24 October 2017
Warning: Spoilers
This is a series of two completely different halves.
The first few episodes of 家政婦のミタ (Kaseifu no Mita) {translated as "Housekeeper Mita"} are underwhelming to say the least. The husband, supposedly the character around whom the story revolves, is a weak, cowardly and unlikeable human being. None of his early actions are justifiable or even understandable in the least. The other major characters are the children, who are each unique and likable in their own way, but don't really blossom in these early episodes. The story of a family struggling to pick up the pieces after an overwhelming tragedy doesn't really click.
The show picks up pace around Episode 5, as the mystery elements start to reveal themselves piece by piece. The kids, especially little Kii, produce bits of memorable drama. Other supporting characters arrive to give the story more weight.
Of course, the show is made by the subtle robotic charm of the housekeeper. Nanako Matsushima really impresses in this role, and by the end, you're left hoping for a "happy" ending you never considered in the beginning.
The show may be named after the housekeeper, but it's in essence a family drama that has its roots in the characters. And it's definitely worth a watch.
9/10
The first few episodes of 家政婦のミタ (Kaseifu no Mita) {translated as "Housekeeper Mita"} are underwhelming to say the least. The husband, supposedly the character around whom the story revolves, is a weak, cowardly and unlikeable human being. None of his early actions are justifiable or even understandable in the least. The other major characters are the children, who are each unique and likable in their own way, but don't really blossom in these early episodes. The story of a family struggling to pick up the pieces after an overwhelming tragedy doesn't really click.
The show picks up pace around Episode 5, as the mystery elements start to reveal themselves piece by piece. The kids, especially little Kii, produce bits of memorable drama. Other supporting characters arrive to give the story more weight.
Of course, the show is made by the subtle robotic charm of the housekeeper. Nanako Matsushima really impresses in this role, and by the end, you're left hoping for a "happy" ending you never considered in the beginning.
The show may be named after the housekeeper, but it's in essence a family drama that has its roots in the characters. And it's definitely worth a watch.
9/10
The Night Manager
(2016– )
Could have been so much better
15 January 2017
I've seen lots of praise for this show (not least the 3 Globe wins for acting) and 6 episodes seemed a breeze to watch. I haven't read the novel, my review is based on the TV series alone but those 6 episodes felt like a whole lot more. Not because it was a thrillingly complex plot (wrong on both counts), but because by the end I couldn't wait for it to get over.
The writing was patchy, the acting barely worth mention and the plot was nothing to really write home about. There were so many flaws in character and decision-making, it's unbelievable! I'm a huge fan of Hugh Laurie but he could have done this in his sleep. I really don't know what all the overwhelmingly positive reviewers saw in this. I guess what really saved it was the star names in the cast and the promise of its burial after just the half dozen episodes. Glad to bid it goodbye.
6/10
The writing was patchy, the acting barely worth mention and the plot was nothing to really write home about. There were so many flaws in character and decision-making, it's unbelievable! I'm a huge fan of Hugh Laurie but he could have done this in his sleep. I really don't know what all the overwhelmingly positive reviewers saw in this. I guess what really saved it was the star names in the cast and the promise of its burial after just the half dozen episodes. Glad to bid it goodbye.
6/10
The Artist
(I) (2011)
The Best Motion Picture of the 21st Century could well be a silent film!
27 February 2012
This is the first silent film I've ever watched. The last of the non- talkies were in existence way back in the 1930s and for "The Artist" to revitalize this so-called 'dead' genre is simply a marvellous achievement. I wouldn't be overstating it when I say it is possibly the best work in film-making in the 21st century.
For starters, the brisk pace and sheer entertainment factor of this movie catches you off guard as it is something not usually expected of a silent film. The acting by both Jean Dujardin (what a well-deserved Oscar win his was) and Berenice Bejo (would have loved to see her win too; on reflection though, the competition this year made that virtually impossible in either category) is tremendous. The complex task of expressing emotions without the aid of verbal activity is a feat accomplished with nonchalant ease by the duo. The original score (don't bother with the baseless controversies regarding an alleged rip-off from the score of "Vertigo") by Ludovic Bource is as good as it gets, and landed him and the film another well-deserved Oscar nod. And finally, the screen writing and direction by Michel Hazanavicius is first-class; overall a stupendous work of art befitting the title of the film.
Don't be put off by the superficial 'lack of punch' generally associated with silent films. Watch this and your respect for the classic silver screen cinema might just increase manifold.
For starters, the brisk pace and sheer entertainment factor of this movie catches you off guard as it is something not usually expected of a silent film. The acting by both Jean Dujardin (what a well-deserved Oscar win his was) and Berenice Bejo (would have loved to see her win too; on reflection though, the competition this year made that virtually impossible in either category) is tremendous. The complex task of expressing emotions without the aid of verbal activity is a feat accomplished with nonchalant ease by the duo. The original score (don't bother with the baseless controversies regarding an alleged rip-off from the score of "Vertigo") by Ludovic Bource is as good as it gets, and landed him and the film another well-deserved Oscar nod. And finally, the screen writing and direction by Michel Hazanavicius is first-class; overall a stupendous work of art befitting the title of the film.
Don't be put off by the superficial 'lack of punch' generally associated with silent films. Watch this and your respect for the classic silver screen cinema might just increase manifold.
American Beauty
(1999)
The true beauty of film
3 March 2011
Let me start off by saying that no review can do justice to this absolute masterpiece, and if you haven't watched this movie, please do so as soon as you possibly can.
Phew. I have watched 'American Beauty' half a dozen times and not once did I encounter a moment where I felt a shot was wasted, or a line of dialogue mislaid. This movie is the most realistic portrayal of life I have ever seen in film. Every single aspect of this film - the brilliant direction by Sam Mendes, the wonderful original screenplay by Alan Ball, the original score by Thomas Newman, and of course the wonderful acting performances led by Kevin Spacey and Annette Bening - is near perfect. A testament to the quality of the film that swept the top Academy and Golden Globe awards in 2000.
No part of 'American Beauty' is more memorable than the last 2-3 minutes. The sheer prowess of the direction, cinematography and screenplay intertwined with the subtle musical notes converge to form a poetic end. The touching narration by Lester (Kevin Spacey) makes you think long after the credits roll. There is a lot of wonderfully written comedy too. And the actors (especially Spacey) are so good that there is no artificiality in the way the jokes are pulled off. In short, the movie has everything.
It surely breaks into my top 5 movies of all time, along with movies like Schindler's List and Sunset Blvd.
10/10.
Phew. I have watched 'American Beauty' half a dozen times and not once did I encounter a moment where I felt a shot was wasted, or a line of dialogue mislaid. This movie is the most realistic portrayal of life I have ever seen in film. Every single aspect of this film - the brilliant direction by Sam Mendes, the wonderful original screenplay by Alan Ball, the original score by Thomas Newman, and of course the wonderful acting performances led by Kevin Spacey and Annette Bening - is near perfect. A testament to the quality of the film that swept the top Academy and Golden Globe awards in 2000.
No part of 'American Beauty' is more memorable than the last 2-3 minutes. The sheer prowess of the direction, cinematography and screenplay intertwined with the subtle musical notes converge to form a poetic end. The touching narration by Lester (Kevin Spacey) makes you think long after the credits roll. There is a lot of wonderfully written comedy too. And the actors (especially Spacey) are so good that there is no artificiality in the way the jokes are pulled off. In short, the movie has everything.
It surely breaks into my top 5 movies of all time, along with movies like Schindler's List and Sunset Blvd.
10/10.
Kramer vs. Kramer
(1979)
Heart-warming tale of man and child caught in a custody battle
27 January 2011
I have watched many movies and shows on TV that deal with divorce, but none as realistically and wonderfully as 'Kramer vs Kramer'. Led by Oscar-winners Dustin Hoffman (Best Actor in a Leading Role) and Meryl Streep (Best Actress in a Supporting Role) and a wonderful 8-year old Justin Henry, the movie deals with the difficulties faced by a family split by divorce.
Once the basic outlines are revealed, the movie progresses to a touching story of a father who must manage his son on top of his usually busy work-schedule. As he struggles through this burden, he also learns that there is no substitute for the love of a child. He in turn becomes a competent father till things take a turn for the worst. How he handles this situation is admirable.
In the golden decade for movies, 'Kramer vs Kramer' definitely doesn't compare to the likes of titles like 'The Godfather (Parts I and II)', 'One Flew Over The Cuckoo's Nest' or 'The Sting', but is a classic in its own right, thanks to a brilliant script, sensational acting and wonderful scenes that will move you to tears.
Once the basic outlines are revealed, the movie progresses to a touching story of a father who must manage his son on top of his usually busy work-schedule. As he struggles through this burden, he also learns that there is no substitute for the love of a child. He in turn becomes a competent father till things take a turn for the worst. How he handles this situation is admirable.
In the golden decade for movies, 'Kramer vs Kramer' definitely doesn't compare to the likes of titles like 'The Godfather (Parts I and II)', 'One Flew Over The Cuckoo's Nest' or 'The Sting', but is a classic in its own right, thanks to a brilliant script, sensational acting and wonderful scenes that will move you to tears.
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