Sophocles Reviews

Rang De Basanti (2006)

A passionate film that ends up being merely noise and racket

[6/10 · 3 February 2006]

Given the kind of response Rang De Basanti has got, one dissenting review is probably going to make no dent on the mass of celebratory reviews here and all over the internet. But then the itself movie is about rebellion, so here goes..

With an amazing amount of hype surrounding it, the best mainstream actor in the country at its helm and an immensely evocative tag line - "a generation awakens", Rang De Basanti had to be one of the best Hindi movies in recent times. However, I came out of the cinema hall disappointed. First off, the movie's politics is way too simplistic and is marked by Bollywood's characteristic lack of interest in the complexities of how the State functions. If you believe the movie, each politician is a devil whose evil deeds permeate every nook and corner of the country. The government has never done anything good and it'll always remain the same (unless you assassinate one of the big devils). So, while the movie deserves credit for criticizing fundamentalists and hate mongers, it seems to be going on a chauvinistic trip of its own. The problem with Rang De Basanti is not that it points out that things are going wrong with our country. The same story with all its action and melodrama could have been used to effectively portray the urgency of change. The problem is with impression it creates - simplistic and over the top, reminiscent of the mind of a lynch mob.

Then, the movie lacks what one can best call "personal moments". This is a movie about a group of people and finally about the whole country. Individuals don't have much of a place in it. The few moments where they do take a precedence add soul to the movie, such as Laxman's recitation of Ram Prasad Bismil's "sarfaroshi ki tamanna" or Waheeda Rahman's mourning over her son's death. Even if one is disenchanted by the course of action the protagonists adopt, one could have been made to identify with and care about what happens to them. But unlike the thoughtful and mature characterisations of Dil Chahta Hai, here the writers show a propensity towards the outer world rather than the inner.

On the bright side, A R Rahman has composed a dazzling soundtrack with some unique and earthy lyrics by Prasoon Joshi (though all the songs heavily edited in the movie). The director and cinematographer seem to be having a lot of fun with the robust and trance-like portrayal of the gang's antics in and around Delhi. The movie exudes a young and restless aura. As one reviewer puts it, this is Rakeysh Mehra's ode to Delhi. The actors mostly do a fair job, with Aamir Khan and Atul Kulkarni coming up with the best performances. Kulkarni surely has a knack to play the passionate Hindutva fundamentalist rather well, this performance reminding one of his chilling portrayal of Savarkar in Hey Ram.

With some subtlety, Rang De Basanti could have been path-breaking and transformative. But it fails. Even among those who loved the movie (and that surely includes a lot of people), how many will care to add their bit to the nation and how many have returned to their private dreams where the only reaction to the country's affairs is one of cynicism? How many of them will even care to vote? Oh no, I forgot that voting won't do and what we need is an assassination followed by a radio confession, just before the devil's henchmen arrive to snuff your life out.

So for those who prefer their idealism without the naiveté and the theatrics, steer clear of Rang De Basanti. There are always movies such as Dhoop and Saransh...

Mammo (1994)

a gentle, culturally rich elegy to growing up

[7/10 · 12 January 2006]

Shyam Benegal and Khalid Mohamed create a tender, beautiful account of a Muslim boy's childhood in post-partition India.

On the surface this is the story of a woman like millions others, uprooted by partition - probably the greatest tragedy of our times - trying to get back to her roots. Mammo absolutely refuses to let any politician take away from her what makes her life worth living - her sister, her grandson and her city.

On another, more charming level, it is a lovingly detailed depiction of the world seen through the eyes of the adolescent Riyaz. A sense of shame for one's background, the first time one was moved by poetry (for Riyaz its Kahlil Gibran), a budding fascination with the world of cinema, first experiences with cigarettes and porn, its all there. The atmosphere is made rich by references to Beethoven, Faiz, Gibran and movies like Psycho, Bobby and Garm Hawa.

Farida Jalal and Surekha Sikri turn in great performances. There is a beautiful ghazal sung by Jagjit Sing and written by Gulzar that adds depth and poignancy to the film each time it plays. Gulzar fans will value the use of his jolting story 'Ravi Paar'.

The Forsaken Land (2005)

evocative and striking

[8/10 · 22 July 2005]

vimukthi jayasundara's debut feature is a film of surprising stillness and serenity. it strikes you by being so unusual and so brilliant at the same time. the film deservingly won the camera d'or for best first film at cannes this year.

the film is an expression of misery that is the result of many decades of civil war in sri lanka. the landscape comes across as desolate and an aura of death can always be sensed. the people living in this land seem robbed of their humaneness. they're like automatons, functioning for the sake of functioning. their only source of pleasure are brief, emotion-less sexual 'quickies'.

one filmmaker jayasundara is obviously influenced by is tsai ming liang (taiwan). like liang, jayasundara's characters are alienated from everything human. lonely, disconnected and indifferent to their own tragedy, they inhabit a world devoid of intimacy. but jayasundara goes beyond the mysteriously fascinating imagery of liang to create a more engaging and almost hypnotic film.

if you're expecting a film in which something happens all the time, or you're looking for overt meaning in every scene, this is not your cup of tea. there is very little dialogue. the film is full of long takes and moves at a leisurely pace. the director shows a kind of indifference to plot. a scene is not a build up to the future, the essence of the movie lies in each and every scene in itself. surrender your intellect, stop trying to find meaning, just put forward your hand like a child and let the film guide you through its desolate, detached beauty. unlike what many might say, this is NOT an intellectual's film. on the contrary, its a film that requires you to not use your mind too much and to view the film in an unconditioned way, not expecting it to go this way or that. it completely goes against what we are habituated to. the film's progression from a beginning to a middle to a climax is not important. life doesn't move like that.

vimukthi jayasundara clearly belongs to that set of directors who talk in a cinematic language that is liberated from the literary, plot-driven narrative. partially because i do not view this kind of cinema very often, the film leaves you with a sense of calm and an appreciation for its inventive brilliance. on the low side, the style is detached and distant and lacks the ability to manipulate your feelings like a well-crafted, plot-driven film. i don't quite know what to make of these feelings. its a film that you won't forget and will really want to talk about and discuss.

Paanch (2003)

Astounding Crime Thriller

[7/10 · 29 July 2003]

I saw Anurag Kashyap's Paanch at the Cinefan Film Festival, 2002. It was clearly one of the best movies of the festival, on par with movies like Hero and Osama.

The story depicts what ambition, immorality, greed and angst, unmistakably the products of urban life, can do to an ordinary person. A little mischief for the sake of success leads a group of 5 wannabe rock stars to get entangled in a gory web of murder and betrayal.

What follows is a shocking thriller of a story, supported aptly by some great performances, the best coming from Kay Kay Menon and Tejaswini Kolhapure. The movie has a great musical score by Vishal Bhardwaj. The songs, most of which Kashyap interestingly uses up in the first 15 minutes, are brilliant. So is the background music. Another high point of the movie is the cinematography, which impresses upon the viewer an aura of fast-paced urbanity juxtaposed with dark, ruthless bloodshed. If there's a low point in the movie, it is the few minutes after the interval where which seem ineffective and dragged. However, they are easily outweighed by the compelling tension and gloom that permeate the movie.

Clever, brilliant, yet utterly pessimistic, Paanch is strongly recommended.

7.5/10

Bhaji on the Beach (1993)

bhaji on the beach impresses

[7/10 · 1 June 2003]

watching bhaji on the beach is a charming experience. gurinder chadha's debut movie is a wonderful display of her obvious talents in presenting a pleasant picture of the indian diaspora without sugar-coating it. conflicts related to gender, generation and race abound, but the film never gets depressing. full of characters and fuller of huge variety in background music, it creates an upbeat, captivating atmosphere.

chadha's latest film, bend it like beckham simply cannot match upto the charms of bhaji on the beach. while the former is more commercially driven, the latter is an honest, cheeky and ultimately endearing experience. from the inquisitive shots of a busy carnival to the innocently affable punjabi songs the women sing on the bus, the first-time director has done a brilliant job in this socio-cultural amalgam of more than half-a-dozen important characters.

strongly recommended for anyone who likes 'slice of life' movies. its been ten years since gurinder chadha made this film. several movies have been made on the NRI experience, but only two have matched up to its brilliance - east is east and leela. bhaji on the beach is a must-see.

7.25/10

Kannathil Muthamittal (2002)

over the top stuff

[13 March 2003]

as compared to the usual fare we are subjected to in india, mani ratnam's movies like roja and bombay were sophisticated and magical. yet you cannot help notice how much ratnam has been repeating himself of late.

it started with dil se, which worked in spite being heavy on style and light on substance. but mani ratnam has reached his saturation point here. full of cliches, kannathil muthamittal is as manipulative and preachy as the movies get. the director's style stamps itself all over the movie's texture making it rather difficult to read. the music is loud and overused, making it feel like the director wants to hammer emotions into our head. the characters, especially the kid, are stereotypes of the most ordinary order. this movie is like dil se all over again with a different plot. another movie i'm reminded of is company, where once again the director seemed to try to hard, leaving me indifferent and frustrated. mani ratnam tries too hard to make the movie seem magical, but the magician's act seems just another demonstration with the actions stale and the objects rusting.

besides, the movie is horribly predictable. with a little perception in the first 20 minutes or so, you know the graph of emotions the director wants you to follow throughout the movie. this is one of the most manipulative movies i've seen since long. the plot being so predictably preachy only adds to this.

subtlety is a notion mani is yet to discover. yes, maybe he's compromising for the masses, but that does not help the movie leaving me indifferent. shekhar kapur also indulges in over-the-top direction, but with a strong plot and a novel background score among other things help the movie be effective. in kannathil muthamittal everything, besides the cinematography and some of the acting, is strictly run of the mill.

it does surprise me that people have liked this movie so much, but the majority of comments here are from non-indians, who probably are not so used to the emotion-hammering of indian cinema. i give this movie 6/10.

Tera Mera Saath Rahen (2001)

bad screenplay, highly commercialized, but still worth a watch

[6/10 · 17 May 2002]

mahesh manjrekar's movie about the relationship between a man and his disabled kid brother is worth watching for some wonderfully sentimental moments between the two. on the other hand, occupying equal time in the movie is a not-so-subtle comment on society's lack of morality and values. the directorial talent is clearly visible....but the script leaves much to be desired. the films pace falls too often and a certain triteness settles in. the director should be criticized for playing too much to the gallery... putting in unnecessary love songs and conflicts, thus, straying from the main theme of the movie. the music is hummable at best, but works in the key scenes.

ajay devgan does a very competent job as the older brother torn between the woman he loves and the brother he can't live without.devgan is certainly emerging to be one of the best actors in bollywood...taking into account his performances in zakhm and hum dil de chuke sanam. one just hopes that he doesnt get stereotyped. but the highlight of the film is dushyant wagh who attracts everyone's admiration for his portrayal of the afflicted child. the actor's playing devgan's neighbours never seem to have heard of subtlety. most of them, barring the one playing the aged man, are loud and crass. it is probably a true depiction of the middle class in metros but it certainly needs better treatment because sometimes those characters just end up being annoying.

on a scale of 1 to 10, i'd give this a high 6. recommended for some good acting, a well-picturised and well-composed title-song and most importantly, some touching moments.

Monsoon Wedding (2001)

disappointing

[6/10 · 3 December 2001]

Mira Nair's Monsoon Wedding is about a big upper-middle-class punjabi family who unite for a wedding. The movie is beautifully packaged for a foreign audience... a fact which is well evident in its winning the Golden Lion at Venice earlier this year. On home ground though, the movie almost falls flat on its face.

For those living in India, specially the north, the opulence, the ostentatiousness, the ironical paradoxes and most of all, the boisterous happiness of punjabi culture are nothing new. Its something we live amongst, something we've come to take for granted. This is nothing that'll enchant an Indian audience. So remove the captivating charm of the above, and whats left is a slide-show of tens of ultra familiar characters and their even more familiar relationships.

Sabrina Dhawan's script makes no attempts to go deep into the minds of the characters....though it would make the movie an amazing social documentary for the indian viewer, the international audience would find it too complex a drama. It is full of dry humour and ironical moments. The dialogue is well written, with nobody speaking even a single line out of character.

The actors have performed well. My pick among the hordes of actors has to be Vijay Riyaz as PK Dubey. Though she appears to be on the verge of being typecast, Shefali Shetty comes a close second with a strong dramatic role. Khulbhushan Kharbanda, Rajat Kapoor, Lilette Dubey, Neha Dubey and co. give in satisfactory performances with Naseeruddin Shah displaying his mastery of the art in the last few minutes. Vasundhara Das goes through the film with the same i'm-confused-but-what-dyou-think-you-are expression on her face.

The musical score, both original and non-original, is brilliant. Sukhwinder Singh's amazing bhangra composition translates to music the upbeat, high-voltage, jolly mood of the marriage. Songs from old Hindi movies are used very well to accentuate the emotion prevalent. The background music does a good anough job of making the atmosphere palpable.

Declan Quinn's camera takes you from your viewer's seat into the life of the movie...a feat not many cinematographers can boast of. The hand-held camera floats from one character's life to another's, giving a realistic marriage-video feel.

Despite quality work the cast and crew, not to forget Mira Nair's competent direction skills, what lets down the native viewer is a script exclusively packaged for a foreign audience.

6/10

Aks (2001)

disappointing

[3 August 2001]

rakesh omprakash mehra is a man the advertising industry in india bows to. his short film for amul was hugely appreciated. his technical finesse could put any hollywood slam wham director to shame. i wish i could usher similar praise on his maiden directorial venture..aks. this could have been good as a 2 hour movie. but three slowwwwwwwwww hours of boredom which lead to a rather sloppy climax certainly make for your money's worth. and neither is this classic film noir. its just an ambitious attempt gone wrong. 2/5

Lagaan: Once Upon a Time in India (2001)

another hope for Hindi cinema

[7/10 · 18 June 2001]

the nearly 4 hour long lagaan has been a daring endeavour for aamir khan. nonetheless, the thinking khan doesn't let us down. the movie is an entertainer in every sense of the word, yet it is ages ahead of the regular potboilers that bollywood churns out every friday. watch this one in a theatre, the effect will no way be nearly as good on tv. this is the first time i have seen an audience participate with such enthusiasm and fervour. this is also the first time i have sat through a cricket match for an hour without feeling the slightest of ennui. divided into 3 parts by 3 intervals, the last part is completely amazing. the brilliance on display leaves you spellbound and yearning for more, despite the fact that this is your 4th hour on your seat. this is what is known as true cinema. the first part is good, with lots of light comedy which might not appeal to all but do try to enjoy it because that is the foundation of the movie. you won't like the other two parts if you sit sullen through the first. coerce yourself to laugh and soon it will all become effortless. the second part is comic yet dramatic. upto here, the movie can be passed off as a usual bollywood flick. but from this point it is one of the best hindi movies. aamir khan is good, but not excellent. this is his best performance along with the one in 1947 : earth. the supporting cast is probably the best i have ever seen. though there are too many significant characters, this movie shows care for each one of them. aamir and ashutosh picked the best in each field of film making. but the result could have been better. the cinematography by anil mehta is just about ok. the choreography is very good. music by AR rehman is good but not his best. it comes out in its best form on video rather than audio. oscar awardee bhanu athaiya's costumes are fine...historically accurate and all but really, any dress designer would do a satisfactory job here. i doubt if this movie has room for great dress designing, and even if it does, it does not achieve it. the dialogue be k p saxena is once again good. a bit difficult to understand since it is in light avadhi, but you do get most of it. and its worth listening to. what deters brilliance is too much coverage of the pre - climax part. some sharp editing and smarter screenplay would have done the job. despite its flaws, lagaan is a good movie to watch. three cheers to ashutosh gowariker.

Zubeidaa (2001)

yaaaawn....

[6/10 · 16 June 2001]

this movie is pretty yawn friendly...the rather insipid screenplay by khalid mohamed does no justice do the movie which is better than average in almost all other aspects. the dialogue, once again by khalid is pretty good, but the narrative leaves much to be desired. the music by a r rehman is, once again, mind-blowing stuff. so gaye hain is probably one of the best songs in its genre ever. kudos to rehman and benegal for the great music. karisma kapoor comes up with a good performance, but it is in no way great. yes...karisma has come of age from the days of jhatkas and matkas... but she still has a long way to go before she can match up to bollywood actors like amitabh bachchan, tabu, kajol, shahrukh .. and yes, amir. as for the rest of this movie... keep it for a lonely afternoon.