Neelakasham Pachakadal Chuvanna Bhoomi (English: Blue Sky, Green Sea, Red Earth) – Sub title based review "Been sometimes I had done an IMDb reviews, so thought of using my weekends to watch two titles and review. This one is about "English: Blue Sky, Green Sea, Red Earth" – A Malyalam gem of a movie. I have very low exposure to South Indian movie so thought of picking this up with quality English sub titles. This 2013 movie narrates the story of two engineering college friends who do their motor cycle diaries initially to get lost – to forget life – to ignore life. But just to be channelized to a larger quest for their own self, own believes & be the destiny. The film is shot seven Indian states - Kerala, Karnataka, Andhra Pradesh, Orissa, West Bengal, Nagaland and Sikkim – as the lead characters move ahead in their quest over their Royal Enfield. It has to be appreciated that the film has done all the research correct , I could see banners of Hornbill festival while in Nagaland, amazing site locations for Orissa beaches, Vibrant Kolkata – yes the movie captures Momo and Biryani's with Alu . Casting was gem as the film resorted to picking regional actors – while the lead actress was Bala Hijam from Manipur playing a half Naga women; the film also resorted to casting Dhritiman Chaterji – the Bengali iconic actor who has worked with the masters himself like Ray and Mrinal Sen ; being playing the role of a political leader. The film hits at all right cord to keep the travelogue while keeping India in mind. The music is by Rex Vijayan, who is well known in the Indian rock circuit as lead guitarist for band Avial ( Check Nada Nada song – if you like hard metal by Avial) does wonderful for its tracks. I am not sure who did the background scores but it was amazing as well. The scores indeed help you to craft the story yourself through diluted images & journeys. This film differs from other road trip films – maybe even Dil Chata hai – the single reason being – this film is more grounded, more real , has more panorama of life to offer – from college politics, to love, to lust, to discovering manhood to being absolute blank about life. A must watch if you like to see a wonderful movie. We definitely need more films like Neelakasham Pachakadal Chuvanna Bhoomi – to celebrate life & discover India. Kudos to the makes. Neelakasham indeed are our lives".
Reviews
10 Reviews
Son of Saul
(2015)
This made me a buddy of Sual !!
24 May 2016
Oscar Winner Hungarian cinema (Best foreign film) – Son of Saul
" I happened to make a wish list of foreign films especially the Oscar short lists. I did see the Indian representations & was curious of knowing who actually won the foreign film category. I came to know about this brilliant film maker (László Nemes) and his work based on holocaust called as Son of Saul. This film is Hungarian and my review is based on sub titles.
So what's new on this especially after Schindler's list? Well, that's the whole point you can't be new about history bit you may have a different treatment to the context all together. This is what probably makes Son of Saul a great work. The film is a periodical experience of a Hungarian 'Sonderkommando' ( a prisoner lead in a gas chamber camp who is forced to work as a lead and do job of cleaning dead bodies) & his life in hell for one and half day. The 70mm camera puts a shallow field of vision like a war camera. His daily job in the camp was to gather dead bodies often from his own people dispose them & report back collections of private materials that the prisoners brought. Saul (his name) mainly worked near the gas chambers & waited for people to die inside so that he could go inside and clean. He eventually takes a moral responsibility to be a logical father to a dead teenage boy and provide him a proper Rabbi (Jewish) burial. The whole film focuses on his burial. The treatment of dead body's burial as a central theme especially to show human plight is not new to literature or films. Bengali literature has 'Abhagir Swargo' (Heaven for the unfortunate) and there may be more which i dnt know of. But what made Saul's short cinematic live in hell worth a compliment was the sheer depth of vision that the director offers you. You get to be like a buddy for Saul & think why is he doing this? Well we will never know why Saul actually thought a dead body as his own son. You are rational in a rational world. You walk when you have a ground. Saul had none for him so we can't judge a fair mind from him. What I also loved about this cinema is that music is almost muted. You have to hear the background score with great concentration. I simply loved this as a muted music may refer a past grace or a distant memory. Maybe Saul's head was banging with his past or maybe the lost echo of his happy days. Watch this film but in case you have limited view of world war and holocaust – then consider doing some internet research before watching this film. This film is not suitable to be watched with kids (naked dead bodies) so consider that as well. What happens to Saul or the plot is not relevant for my review – what still hold true is what we have learnt from the holocaust ?
" I happened to make a wish list of foreign films especially the Oscar short lists. I did see the Indian representations & was curious of knowing who actually won the foreign film category. I came to know about this brilliant film maker (László Nemes) and his work based on holocaust called as Son of Saul. This film is Hungarian and my review is based on sub titles.
So what's new on this especially after Schindler's list? Well, that's the whole point you can't be new about history bit you may have a different treatment to the context all together. This is what probably makes Son of Saul a great work. The film is a periodical experience of a Hungarian 'Sonderkommando' ( a prisoner lead in a gas chamber camp who is forced to work as a lead and do job of cleaning dead bodies) & his life in hell for one and half day. The 70mm camera puts a shallow field of vision like a war camera. His daily job in the camp was to gather dead bodies often from his own people dispose them & report back collections of private materials that the prisoners brought. Saul (his name) mainly worked near the gas chambers & waited for people to die inside so that he could go inside and clean. He eventually takes a moral responsibility to be a logical father to a dead teenage boy and provide him a proper Rabbi (Jewish) burial. The whole film focuses on his burial. The treatment of dead body's burial as a central theme especially to show human plight is not new to literature or films. Bengali literature has 'Abhagir Swargo' (Heaven for the unfortunate) and there may be more which i dnt know of. But what made Saul's short cinematic live in hell worth a compliment was the sheer depth of vision that the director offers you. You get to be like a buddy for Saul & think why is he doing this? Well we will never know why Saul actually thought a dead body as his own son. You are rational in a rational world. You walk when you have a ground. Saul had none for him so we can't judge a fair mind from him. What I also loved about this cinema is that music is almost muted. You have to hear the background score with great concentration. I simply loved this as a muted music may refer a past grace or a distant memory. Maybe Saul's head was banging with his past or maybe the lost echo of his happy days. Watch this film but in case you have limited view of world war and holocaust – then consider doing some internet research before watching this film. This film is not suitable to be watched with kids (naked dead bodies) so consider that as well. What happens to Saul or the plot is not relevant for my review – what still hold true is what we have learnt from the holocaust ?
Two
(1965 TV Short)
A fable for all generations to come !!
20 May 2016
Attempted analysis of short Film By Satyajit Ray – Two "There has been recent attempt to restore some Ray's work by the world & a recent digital restoration of Ray's lesser known work called as Two – which is a 12 minute short film. My analysis is on this 12 minute short film in points. This film is a Fable. It teaches you a moral at multiple levels based on your maturity level. The broad story line is about two kids from opposite layer of the Indian society of 1960's playing alone in their house & the film is shot from the view of the rich kid. The movie starts with the rich kid being bored in his bungalow of foreign toys, balloon and cold drinks. He hears a flute playing & observes a poor kid playing that across his window. The kids then compete with their respective toys & end with the poor kid happy flying his kite but just momentarily as the rich kid shoots the kite down with his air rifle. The morals are below as per audience & there may be more – a) The easiest moral is rich suppressing the poor, nothing to write on that b) The next level of thought is ; two worlds colliding where there is a battle and then a war. The rich kid wins the battle initially when he shoots the kite but loses the war as the poor kid again picks his flute and starts playing. This is evident from the tower of pisa toys that falls down in last frame. The rich kid loses the war c) We move higher, happiness verses consumerism. The rich kid has imported cold drinks and maybe ripe apples to eat as he plays but then he has no hunger and joy. He casually flips from room to room along his toys until he comes to the window. The poor kid has the camera span across the field hence infinite possibilities. Happiness has nothing to do with consumerism d) Higher again, momentary nature of ego. The rich kid while alone flips toys, rolls over the sofa & sees his recently celebrated birthday balloons still hanging over the ceiling. He rolls a match stick & starts bursting the balloons. He simply drops this and moves on once he burst two balloons. He fails to celebrate an old friend, here the balloon from yesterday's birthday which was probably so splendid earlier. Ego has no mind no brain e) Politics. Ray was influenced by Vietnam war. His film chronology suggests he did Gupi Gyne after this. He was building his base for the under dogs. The ripe paddy fields with one solo hut (not a slum) indicate the poor's kid parents were maybe cultivators or land labours. On the other side, a carbonated drink & Mickey Mouse hat conveys Western influence f) Finally, Ray salutes indomitable spirit of mankind. The film is a celebration of human spirit. The ability to jump back from a loos and play back the flute of life
In case you liked this you may watch his short film trilogy. The next two were on Ballet troupe and Pandit Ravi Shankar. The well known Sikkim documentary was much later in 70's. Ray never celebrated or sold India's poverty, he did make a statement out of it. He asked us the hard questions."
In case you liked this you may watch his short film trilogy. The next two were on Ballet troupe and Pandit Ravi Shankar. The well known Sikkim documentary was much later in 70's. Ray never celebrated or sold India's poverty, he did make a statement out of it. He asked us the hard questions."
The Crow's Egg
(2014)
Subtitle based review of the Crow's nest
16 May 2016
" You can not complete the Indian modern cinema panorama without considering movies from Southern India. My quest for quality cinema has taken a positive beating due to parenthood but this weekend was a lucky one where I choose to see The Crow's egg -Kaakkaa Muttai. I do not know Tamil and this review is based on subtitles.
I grew up in gateway of North East part of India ad mist the tea gardens of Darjeeling and my maternal family was from one such tea gardens. As you may know; there were lots of tribes in India and during one of these childhood visits I meet a young tribal man. I profoundly remember his name as Mongru as he befriended me as a child of 5 years old. He used to work as our part time domestic help and always had stories for me, mostly hunting. 'Mongru' had once told me that crow's meat tastes more bitter than Karela(bitter gourd). It was so yuck as a moment that I remember that line even now and writing down today. However, coming back to Kaakkaa Muttai – it puts up a grave social commentary from the angle of a cinema. The story is about two slums kids , brothers, known as elder crow and junior crow as their quest of protein (eggs) makes them steal eggs from the nest and gets them this nick name from the community kids. They dnt mind it at all and even call's their slum home as crow's egg's house.Their act is also supported by their grand mother just because she knows that family can't afford the chicken eggs. The crow brother's father is in Jail and their mother works in a factory to meet ends & legal fees for their father's bail. As life would have it, crow brothers lands up to know about Pizza which sells at INR 300 & does what it takes to have a pizza. The rest of the film is a cinematic journey about the brother's quest to eat a pizza.
What makes Kaakkaa Muttai appealing as a cinema is its undercurrent and the flows. It puts forward to you the social issues we see every day but skilfully avoid. The film does take you on the journey of the brothers and their aging grand mother for the quest of the pizza. The film exposes you to child labour, politics, media , consumerism yet it does to lecture you. The cult innocence of the poor brothers who make 10 bucks a day by picking coal off the railway tracks steals your heart.
This genre is not new & critic can indeed say that highlighting poverty does not end it. But I wondered Kaakkaa Muttai highlighted the bringing of innocence verses the social imbalance beautifully. This film did indeed remind me of I am Kalam because of close synergies of the casting of leads child actors & back drop but overall both films are brilliant and different. It's a must watch if you like to watch a good cinema & I intentionally avoided the term off beat; as this word depends on which side of fence you are really.
But then - I concluded, I thought over & now I know why 'Mongru' tasted that bitter crow's meat. It just took me thirty years to find it. Thank you Kaakkaa Muttai."
I grew up in gateway of North East part of India ad mist the tea gardens of Darjeeling and my maternal family was from one such tea gardens. As you may know; there were lots of tribes in India and during one of these childhood visits I meet a young tribal man. I profoundly remember his name as Mongru as he befriended me as a child of 5 years old. He used to work as our part time domestic help and always had stories for me, mostly hunting. 'Mongru' had once told me that crow's meat tastes more bitter than Karela(bitter gourd). It was so yuck as a moment that I remember that line even now and writing down today. However, coming back to Kaakkaa Muttai – it puts up a grave social commentary from the angle of a cinema. The story is about two slums kids , brothers, known as elder crow and junior crow as their quest of protein (eggs) makes them steal eggs from the nest and gets them this nick name from the community kids. They dnt mind it at all and even call's their slum home as crow's egg's house.Their act is also supported by their grand mother just because she knows that family can't afford the chicken eggs. The crow brother's father is in Jail and their mother works in a factory to meet ends & legal fees for their father's bail. As life would have it, crow brothers lands up to know about Pizza which sells at INR 300 & does what it takes to have a pizza. The rest of the film is a cinematic journey about the brother's quest to eat a pizza.
What makes Kaakkaa Muttai appealing as a cinema is its undercurrent and the flows. It puts forward to you the social issues we see every day but skilfully avoid. The film does take you on the journey of the brothers and their aging grand mother for the quest of the pizza. The film exposes you to child labour, politics, media , consumerism yet it does to lecture you. The cult innocence of the poor brothers who make 10 bucks a day by picking coal off the railway tracks steals your heart.
This genre is not new & critic can indeed say that highlighting poverty does not end it. But I wondered Kaakkaa Muttai highlighted the bringing of innocence verses the social imbalance beautifully. This film did indeed remind me of I am Kalam because of close synergies of the casting of leads child actors & back drop but overall both films are brilliant and different. It's a must watch if you like to watch a good cinema & I intentionally avoided the term off beat; as this word depends on which side of fence you are really.
But then - I concluded, I thought over & now I know why 'Mongru' tasted that bitter crow's meat. It just took me thirty years to find it. Thank you Kaakkaa Muttai."
Pratidwandi
(1970)
The competitor
19 June 2013
" The competitor or Pratidwandi was set up in a time of political turmoil in Bengal where a medicine drop out Siddhartha is looking out desperately for a job. Siddhartha had to leave his medicine study due to the sudden death of his father and ended up studying botany hence. The film moves through Kolkata with the eyes of Sidhartha mainly as an unemployed youth. The film marks the start of the famous Kolkata trilogy film series from Ray and went into history for winning President's award for best direction and screenplay and to be featured in 1972 Venice film festival. Ray used techniques that was years ahead of its time with common metaphor as below –
1. Death – The film starts with a x-ray filming scene of Sidhartha's father's death and ends with the same metaphor of death when Sidhartha finally lands up a sales job in remote Bengal and hears the long lost bird's whistle from his childhood days just to be comprehended by the echoing voice of "Ram Nam sath hai". Death stars and ends the film.
2. Lost bird – Sidhartha's recollects the bird that his sister was so fond of during their childhood vacation. Sidhartha never finds the same old known bird in Kolkata. He even ventures new market which is famous for hosting all materials from the world. But even new market disappoints him. He spots the bird finally in rural Bengal (Balurghat) in his new medical sales job. But this time the sound of the known bird is in resonance with the rhymes of a dead man being carried away. May be this concept of the lost innocence has inspired modern bengali bands to compose songs as "Holud pakhi". This is indeed remarkable as a metaphor for lost innocence and a human changing with age and circumstances.
3. Flash backs – Sidhartha flashbacks in his medical college days often in the film and these college flashbacks as medical lectures are used to connect the story as he unfolds his struggling days in Kolkata. The most eminent is the sexual metaphor of a young modern lady crossing park street.
The script was based on the story of Sunil Gangapadhya and the film moves very fast from the interview panel to Sidhartha's old friends mess to his old home. Sidhartha's inability to cope up with his ambitious sister (on merit or with her affair with her boss is unknown) or his revolutionary cousin makes up an interesting contrast to his character. Sidhartha's refusal for a sexual act which his friend sponsors speaks of his resilience and strength of character. Sidhartha also regrets probably gifting his brother the book from Che Guevara in his teenage birthday as his brother might have initiated his views on revolution from that gifted book. The only support that Sidhartha get is that from a door next girl who ultimately becomes his friend and may be his love interest eventually.
Sidhartha character is one of the three shades that Ray used in Calcutta trilogy as below – a) Sidhartha being the job hunter who finally compromises and leaves Calcutta. This character is by far the white shade in trilogy.
b) The character of Somanth in the second trilogy "Middleman -"Jana aranya " who as a job hunter too leaves the hunt and becomes a businessman himself just to end up hiring his best friend's sister as an escort for sales favors. Somnath is the innocent looking grey shade in trilogy.
c) The character of Shymal in the film "Company limited - Seemabaddha" who finds epitome of success in corporate life through smart work ends up self accused, although he makes to the coveted post of a general manager. Shymal is definitely darker of the other two shades if not a black.
Overall, a brilliant film and needs utmost attention when you see it. If you have struggled in a job search then this film will grip you more. Hope you all like this analysis as I pen up for the next two series on Middleman ("Jana aranya") and company limited ("Seemabaddha"). Your comments and views most welcome on the work of the genius !!
1. Death – The film starts with a x-ray filming scene of Sidhartha's father's death and ends with the same metaphor of death when Sidhartha finally lands up a sales job in remote Bengal and hears the long lost bird's whistle from his childhood days just to be comprehended by the echoing voice of "Ram Nam sath hai". Death stars and ends the film.
2. Lost bird – Sidhartha's recollects the bird that his sister was so fond of during their childhood vacation. Sidhartha never finds the same old known bird in Kolkata. He even ventures new market which is famous for hosting all materials from the world. But even new market disappoints him. He spots the bird finally in rural Bengal (Balurghat) in his new medical sales job. But this time the sound of the known bird is in resonance with the rhymes of a dead man being carried away. May be this concept of the lost innocence has inspired modern bengali bands to compose songs as "Holud pakhi". This is indeed remarkable as a metaphor for lost innocence and a human changing with age and circumstances.
3. Flash backs – Sidhartha flashbacks in his medical college days often in the film and these college flashbacks as medical lectures are used to connect the story as he unfolds his struggling days in Kolkata. The most eminent is the sexual metaphor of a young modern lady crossing park street.
The script was based on the story of Sunil Gangapadhya and the film moves very fast from the interview panel to Sidhartha's old friends mess to his old home. Sidhartha's inability to cope up with his ambitious sister (on merit or with her affair with her boss is unknown) or his revolutionary cousin makes up an interesting contrast to his character. Sidhartha's refusal for a sexual act which his friend sponsors speaks of his resilience and strength of character. Sidhartha also regrets probably gifting his brother the book from Che Guevara in his teenage birthday as his brother might have initiated his views on revolution from that gifted book. The only support that Sidhartha get is that from a door next girl who ultimately becomes his friend and may be his love interest eventually.
Sidhartha character is one of the three shades that Ray used in Calcutta trilogy as below – a) Sidhartha being the job hunter who finally compromises and leaves Calcutta. This character is by far the white shade in trilogy.
b) The character of Somanth in the second trilogy "Middleman -"Jana aranya " who as a job hunter too leaves the hunt and becomes a businessman himself just to end up hiring his best friend's sister as an escort for sales favors. Somnath is the innocent looking grey shade in trilogy.
c) The character of Shymal in the film "Company limited - Seemabaddha" who finds epitome of success in corporate life through smart work ends up self accused, although he makes to the coveted post of a general manager. Shymal is definitely darker of the other two shades if not a black.
Overall, a brilliant film and needs utmost attention when you see it. If you have struggled in a job search then this film will grip you more. Hope you all like this analysis as I pen up for the next two series on Middleman ("Jana aranya") and company limited ("Seemabaddha"). Your comments and views most welcome on the work of the genius !!
A good attempt
19 June 2013
The sorting hat in Harry potter faced the same challenge as where to place Harry in the house is faced by me tonight as I write the review on request of my close college friends and old colleagues. Well, the central theme in the movie is premature death n accidents in life and leads us through a passage of occult, suspense, lust, crimes, policing and mumbai's night life as the story unfolds. The movie rests with 4 strong actors as pillars and all have played their parts well. Amir donot try to hog the limelight at all and the film has good exposure to display sheer acting brilliance from all four pillars, viz Amir, Rani, Kareena and Nawazuddin.
Nawazuddin has right arrived in 2012 rightly, with yet another brilliant support cast after "Kahaani, this time as the sidekick lamed – "Tehmur". Tehmur's love story and an unworthy life among prostitutes and goons make an emotional drama to witness. I would not be surprised if he wins a filmfare nomination for his role in the movie. Although honestly I found his character have the same minor shades as "Tungrus" played by Naseerudin shah in "Mandi".
Rani shines brilliantly when her critics had written her off as a lonely housewife saddened by her past and loss. She reminds me of Madhuri dixit in "Prahaar" with almost zero screen makeup. She crafts a space for herself ably with her acting skills. Kareena is the life line of the story and she plays yet another role of a Mumbai call girl after "Chamali". Although, here she is urban and more beautiful this time. One easily feels for her character as she unfolds the mystery of the film. She looks amazingly preety which was needed for the role and I think you too would love her till the last shot.
Amir, as an artist has tried yet another different angle and I salute him for it. This is his third repeat as a cop/IFS after "Baazi" and "Sarforosh" and he seems to portray as a policing leader very well . Amir, does brilliantly some under water scenes and is highly grey as a character. He is lonely and suffers from a false self conviction for his past. However, this role would not definitely go down as his best 5 characters just because of the high standards he sets for himself. But he does total justice to the lead role.
The background score and music is average but are pulled up two brilliant female leads – Sona Mohapatra (S' Jayate fame) and Suman Sridhar( "Shaaitan" fame). The story also lags connectivity in terms of suspense merit's. Some dots do not connect especially the lost one hour on the night of the car accident and why did "Amaan Kapoor" change his route that night? The USP of the film is the climax, so watch it early else the fun spoilers will tell it to you in a coffee meet next week. But keep the occult angle open as if you have faith in God, you must acknowledge the evil! Infinity has both + and -, right? Avoid the film, if premature death disturbs you and you dnt like occult topic.
Nawazuddin has right arrived in 2012 rightly, with yet another brilliant support cast after "Kahaani, this time as the sidekick lamed – "Tehmur". Tehmur's love story and an unworthy life among prostitutes and goons make an emotional drama to witness. I would not be surprised if he wins a filmfare nomination for his role in the movie. Although honestly I found his character have the same minor shades as "Tungrus" played by Naseerudin shah in "Mandi".
Rani shines brilliantly when her critics had written her off as a lonely housewife saddened by her past and loss. She reminds me of Madhuri dixit in "Prahaar" with almost zero screen makeup. She crafts a space for herself ably with her acting skills. Kareena is the life line of the story and she plays yet another role of a Mumbai call girl after "Chamali". Although, here she is urban and more beautiful this time. One easily feels for her character as she unfolds the mystery of the film. She looks amazingly preety which was needed for the role and I think you too would love her till the last shot.
Amir, as an artist has tried yet another different angle and I salute him for it. This is his third repeat as a cop/IFS after "Baazi" and "Sarforosh" and he seems to portray as a policing leader very well . Amir, does brilliantly some under water scenes and is highly grey as a character. He is lonely and suffers from a false self conviction for his past. However, this role would not definitely go down as his best 5 characters just because of the high standards he sets for himself. But he does total justice to the lead role.
The background score and music is average but are pulled up two brilliant female leads – Sona Mohapatra (S' Jayate fame) and Suman Sridhar( "Shaaitan" fame). The story also lags connectivity in terms of suspense merit's. Some dots do not connect especially the lost one hour on the night of the car accident and why did "Amaan Kapoor" change his route that night? The USP of the film is the climax, so watch it early else the fun spoilers will tell it to you in a coffee meet next week. But keep the occult angle open as if you have faith in God, you must acknowledge the evil! Infinity has both + and -, right? Avoid the film, if premature death disturbs you and you dnt like occult topic.
Jana Aranya
(1975)
A cult classic !!
19 June 2013
" The middleman is the last film on the Calcutta trilogy if we do not consider Mahanagar along the same genres. The protagonist Somnath is an educated unemployed youth struggling with his life in Calcutta. Somnath fails to get the distinctions in his BA because his answer scripts from university exam goes to a professor who had problems in reading his small hand writings with his broken borrowed specs. The result of which is a mere pass marks in graduation much to the irk of his retired father. Somnath's quest with job in corporate Calcutta develops a chain of frustration, regrets, new relationships and dark humors to the amusement of the audience. He finds no answers to stupid questions asked by interview board as "what is the weight of the moon". The only support he gets is from his affectionate sister in law who gifts him a new watch as he enters the challenging phase of job search.
To add to his worry his long term girl friend dumps him in order to seek stability for her by an arranged marriage. There is a strong melodrama on the break up scene which catches the audience. Probably women always break up with a sense of encouragement with the dumped men and Ray brilliantly uses Aprana Sen for this role of Somnath's ex girl friend. Destiny chances upon Somnath when he meets an old football game friend who offers him support to start his own business and to leave the false illusion of cracking a job interview. The rest of the story involves Somnath learning the business rules as an order supplier or middleman.
The script is adapted from the story of Sankar and portraits the missing ethics in corporate world very strongly. The use of PRO (public relations officer) and tricks for luring procurement managers forms the main learning curve for Somnath as his middle class values are put to test for these tricks. Finally Somnath gives up and decides to follow the road ahead at the cost of his internal soul sufferings.
Ray brilliantly uses the plot in a simple and lucid way and this film is not a complex film as "The competitor". The climax is the last 20 minutes when Somnath struggles with his PRO to get a women (escort) for the client manager and ends up hiring his best friend's sister who has unfortunately turned into an underground call girl forced by sheer poverty. Somnath commercial success and his moral failure marks the end of the film as he fails to make an eye contact with his sister in law in the last scene. Somnath's win's in the end but fails to earn the respect and admiration from himself or from his sister in law. Somnath is definitely gray in shade or rather gets converted from a white shade to grey as he fights back the whole system for his own metabolism and future of a better tomorrow. For sure this contrast makes the end of the Calcutta trilogy".
To add to his worry his long term girl friend dumps him in order to seek stability for her by an arranged marriage. There is a strong melodrama on the break up scene which catches the audience. Probably women always break up with a sense of encouragement with the dumped men and Ray brilliantly uses Aprana Sen for this role of Somnath's ex girl friend. Destiny chances upon Somnath when he meets an old football game friend who offers him support to start his own business and to leave the false illusion of cracking a job interview. The rest of the story involves Somnath learning the business rules as an order supplier or middleman.
The script is adapted from the story of Sankar and portraits the missing ethics in corporate world very strongly. The use of PRO (public relations officer) and tricks for luring procurement managers forms the main learning curve for Somnath as his middle class values are put to test for these tricks. Finally Somnath gives up and decides to follow the road ahead at the cost of his internal soul sufferings.
Ray brilliantly uses the plot in a simple and lucid way and this film is not a complex film as "The competitor". The climax is the last 20 minutes when Somnath struggles with his PRO to get a women (escort) for the client manager and ends up hiring his best friend's sister who has unfortunately turned into an underground call girl forced by sheer poverty. Somnath commercial success and his moral failure marks the end of the film as he fails to make an eye contact with his sister in law in the last scene. Somnath's win's in the end but fails to earn the respect and admiration from himself or from his sister in law. Somnath is definitely gray in shade or rather gets converted from a white shade to grey as he fights back the whole system for his own metabolism and future of a better tomorrow. For sure this contrast makes the end of the Calcutta trilogy".
The Hero
(1966)
" Yet another analysis for Nayak – Bengali film – 1966"
19 June 2013
" Imagine a moonlight sky where you have all the riches of the world but no one besides you to share the moment. The moment of sheer romance is lost into an instant disarray of loneliness. Does success always come with a price and if yes, are we all ready for it? Ray's quest into screenplay took the form of a film post Kanchanjunga where he wrote the script for Nayak, a story about an ace film star,a matinée scorer and his maiden cross country journey in a train towards Delhi to receive the National award. This train journey is a bit different for Arindam (Uttam Kumar) who faces the first rare chance of a flop in his career and worse a page three report related to a women faced brawl involving him. The film uses flashback as Arindam gives interview to a fellow amateur reporter Aditi (Sharmila Tagore) and before Arindam realizes he is lost in a journey of sympathy, confession and guilt. Ray was a prominent critic for the 70's and maybe he wanted to show what commercial films has given and what it has taken away. Ray uses the early days of Arindam to narrate his relationships to theatre world especially with his mentor Shankarda. Arindam being the backbone of Shankarda's acting theatre was lured into commercial film offer which caused his theatre business to fail and hence a sudden death for Shankarda. Arindam flashes back even further as he enjoys the company of Aditi into his first commercial film as he recollects his role where he was bullied by a senior actor Mukunda Lahiri who seemed old fashioned for Arindam and often Mukunda's rebuke frustrated and ultimately pulled Arindam to an avenge for Muknda Lahiri much later in his life. Arindam also narrates about his college friend Brijesh who took up active politics and once tried to use the star status of Arindam to motivate the striking workers at a factory which Arindam refused as today he is successful and college adventures donot suit him. Arindam today cannot sleep, his success can not buy him a rest. His riches is of no use as he gets more frustrated playing the same glamour role and often thinks what would happen if his next three film flops. He starts to share a jovial relation with Aditi as the journey progresses but his own gulit and a sense of justice makes him contemplate suicide. But Aditi influences him here and again as the train halts at Delhi Arindam is lost as the super star among his fans where there is no room for guilt nor justice. Its sheer stardom and maybe Arindam has to carry it for the rest of his life. Few aspects of the film which stands apart are 1. Devi Chaudhurani – Arindam first film was Devi Chaudhurani and Ray loved this character. Ray did have aspirations of filming Devi Chaudhurani which never worked as rumors reports Suchitra sen turned him down at the peak of her successful career. 2. Sub plots – Ray uses lots of secondary characters with sheer perfections to tell the story of his pasts. Shankarda,Mukunda and his lost friend Brijesh 3. Parallel plot – The plot of a businessman using his wife to make a deal is in back drop which Ray uses to show that even society is unfair not only commercial films 4. Journey – Ray loved to portray travel and he repeats this in Nayak. Other journey related films are Abhijaan, Sonar Kella and Aranya din ratri. Ray spills the beans in his later film via the characters in Aguntuk and refers this to the famous German word " Wonderlust". Ray was a Sindbad in his own rights. 5. Aditi – Ray beautifully portrays the character of a critic for Arindam who gives up her interview notes , in a way to save Arindam for further trauma 6. Dream sequence – Film experts regards this as best dream sequence where Shankarda never saves a dying Arindam in between a sea bed of bank notes 7. Films donot change society – The film ends where all character return back to status quo. The journey donot change them. Arindam returns to the glamour world, Aditi tears off her interview and gives up the spook of Arindam Finally, during my research for Nayak I found a wonderful line with which I would end my review – "Not to have seen the cinema of Satyajit Ray means existing in the world without seeing the sun or the moon." Akira Kurosawa
The Last Lear
(2007)
Tragedy and The Lear
19 June 2013
" Tragedy in the form of King Lear's play is not new to Shakespeare fans. However , Rituparno used King Lear as a character sought to be played by Harish (Amitabh) ; a veteran stage actor primarily on Shakespeare's plays. However, the basic crux of the film "The Last Lear" is neither about Shakespeare primarily nor King Lear. So what was it all about ? Well here you go – 1. Dying Art form and the desire to perform one last time – Harish played by Amitabh is an ex stage artist on Shakespeare's plays. He now lives a retired life in unknown alleys in Kolkata along with his live in partner 'Vandana' (Shefali Chaya). Harish is a purist who had a last desire to perform the lead role of the tragedy King Lear, however his past did not allow him to play it. Hence there is a fire in his belly to perform Lear which will never come as films today have killed stage plays. Hence Harish hates films and differs to agree it as an art form. The film moves on where 'Siddharth'(Arjun Rampal) offers him a script of a character known as 'Maqbul', once a renowned skillful clown who goes jobless because of invasion of TV in life of kids, commits a crime and absconds.' Maqbul' then lives in the hilly slopes, secluded looking for a perfect opportunity to run away from life and Police. The character of 'Maqbul' reciprocates that of Harish himself and he agrees to play the lead role in his first film. 2. Women – Like most Rituparno films Women play a pivotal role in the "The last Lear". There is a common facet here, viz. Men taking Women as a moral right to bully and try to control them. The film shows the same act of bully with the nurse of Harish, with the co-actress 'Shabnam', with 'Vandana' as Harish's live in partner. This flow is shown in common across the society. 3. Tragedy – King Lear divides his property among his daughter and ultimately becomes insane in strange circumstances. 'Maqbul' too is tragic who falls from a cliff while escaping Police in the climax and so does Harish who refuses to take a dummy action lead and dictates to do the last climax of Maqbul himself and get's his backbone fractured. 4. Film within Film – Maqbul's story drives the main film. There is a film within a film. Harish is basically 'Maqbul' in some ways. 5. Confusion and gaps in contemporary Indian film production – Its diwali when the film finally premieres. This is not strategic but due to a planning blunder. Siddharth the director does not want to meet media, The lead Heroine Shbanam (Preity Zinta) runs away to Harish as he is bedridden and overall the lead 'Maqbul' is missing too.
However, I would be candid in saying that this is a very complex film and if someone does not like Shakespeare much he would be bogged down by the numerous dialogues which the film uses. See this film if you love Amitabh and just admire the acting skills of him. For sure, it's also one of the best performances by Arjun Rampal as the young director. Rituparno did a great job but this for me is not his best work but definitely in his top 10. As I leave you in the wonderful world of the clown Maqbul and his dying arts I ask you all, how will you fell if you give 30 years to a profession and excelled in it, but just to realize that today your expertise is history; a null and void past. What you would have done if you were Harish/Maqbul ? Would you have taken a second chance to do your best , one last time ? If yes, then you too are the Lear ! "
However, I would be candid in saying that this is a very complex film and if someone does not like Shakespeare much he would be bogged down by the numerous dialogues which the film uses. See this film if you love Amitabh and just admire the acting skills of him. For sure, it's also one of the best performances by Arjun Rampal as the young director. Rituparno did a great job but this for me is not his best work but definitely in his top 10. As I leave you in the wonderful world of the clown Maqbul and his dying arts I ask you all, how will you fell if you give 30 years to a profession and excelled in it, but just to realize that today your expertise is history; a null and void past. What you would have done if you were Harish/Maqbul ? Would you have taken a second chance to do your best , one last time ? If yes, then you too are the Lear ! "
Dev.D
(2009)
Path of self destruction and Dev
17 April 2013
"The path towards self destruction has fancied all men but all do it in a quiet corner of their day dream or with a peg of whisky along a buddy's weekend. But what if someone is really on a confused path of self destruction? Well then you are a DevD. The film came to Anurag via Abhay when Abhay was in Las Vegas and heard the story of a regular Romeo who used to visit a strip club in vengeance of a lost relation. Anurag agreed almost instantly when Abhay proposed and the duo decided to film it with a modern tango of the "Sarat Chandra" classic "devdas". Anurag decided to use Punjab to set up the childhood context of Dev and Paro while shifting the youth to Pahargang in Delhi. Both turned out to be a great move as Paro here is a lady from the village. She is rustic yet sexually provocative. Dev retains the flavor of a rich US return man who is indeed driven by his desire of lust and his tall ego of the riches just adds to his long list of weakness. The result was that Paro dumps him as she saw no future in her relationship. Enter Chandra, when a school girl discovers her transition to adulthood and does a blunder of a mms that goes backfire and viral. A sorry state to be family disowned and hence finally shifts in underground escort services in Delhi. Chuni plays a role of a story catalyst and helps and disowns Dev as his needs. A parasite who plays his cards with the chemistry of Dev and Chandra and then just vanishes. The film was cult and a trend setter in camera work where Anurag used a point to shoot 11 frame camera imported from Amsterdam to shoot Dev's hallucinations while drunk. The "twilights players" are a real bunch who played cons as the story progressed. The song "Saali Khushi" was actually a mistaken take for "Saari Khushi" and the wrong take was finally selected for the punch. The story paces very fast as the film hits delhi and one can see Dev getting trapper more in the state of confusion of love and addictions. His destiny goes against him when he gets in a hit and run case and loses his rich father. Dev's final attempt to seek truth about his love takes him to the northern hills which sets the climax and his ground touch. Frustrated, weak, poor Dev takes a rebirth along the same old momo galli in delhi when Chandra rescues him. The sudden end of the film adds to end the loop that audience goes through and a clear depart from the classic. Anurag thankfully ends it on a high note and this is what the film stands out from the numerous prior devdas films. DevD for sure would remain one of the best works of Anurag and Abhay, no doubt this film is a collector's item and I am sure you dnt mind watching it again tonight. Just a word of caution Devdas is and will always be a looser. His sorry state of affairs make him a legend, so dnt take him too seriously. Just enjoy the film".
Tell Your Friends