mayoorshetty Reviews

Hava Aney Dey (2004)

Indian censor board needs to grow up

[7/10 · 22 May 2013]

Interesting drama based on the lives of two teenagers from Mumbai with the impending Indo-Pak war in the background. Dreams of two friends to leave for a better life in a far away land. Interesting take on the lower middle class teen's of India. With one of the most unusual ending, leaves you wanting for more.

This one's certainly worth a watch. Its been almost a decade since this film was made, don't understand a reason for it to be banned. The controversial parts of the movies are really mellowed down. If the censor board still finds something wrong with it, i would say they must be watching a different film altogether.

Pune-52 (2013)

"Not a murder mystery"

[27 February 2013]

The strangest film so far that I've seen in the Pune Festival is Nikhil Mahajan's PUNE 52 (52 refers to a lower class area of Pune. Beginning as an ordinary detective film set in 1992, the year of India's economic liberalization, it finally appears as if someone had shuffled the scripts of VERTIGO and FATAL ATTRACTION together and then ordered a hasty Susan Sontag re-write to achieve a further lack of clarity.

After the first half, when the hero wakes from a nightmare (as is typical in Hindi films) we release than some of the events we have witnessed never really happened. But did he kill or not kill the woman who pretends to be the wife of the construction magnate who he was originally working for?

There is one excellent moment, with the would be wife standing almost in silhouette against the white light coming through the open door of his home with the detective' wife in lighter tones against the dark door, but the differences (or similarities) are never again fully realized. To describe the twists and turns of the plot would be a disservice, if not impossible, but it is necessary to state that the growing affluence of the detective (concurrent with that of India's middle and upper classes) is handled in one fine special effects shot as walls seem to paint themselves and crude furniture morphs into chaise lounges, etc. The hero remains trapped in the end, but by what I am not sure -- either a political/economic nexus, his own weakness, or insanity. I will stop here, hoping to talk with the director in the next few days, who says at least that this is (although you might not know it) "not a murder mystery."

Shahid (2012)

style of Sinclair Lewis, or on a really good day, John Grisham

[27 February 2013]

Hansal Mehta's SHAHID, in Hindi, begins with the murder of a lawyer in his office. His first name, Shahid, which also means 'martyr' indicates that he was Muslim. We flashback to the riots in the early 1990s in which he is caught up, causing him to train with Muslim militants in Kashmir. This is not the Kashmir of so many Hindi film songs and dances, but of narrow roads cut into enormous cliffs, the rocks overhanging them.

Shahid runs away from the training camp when he is forced to witness the beheading of a turncoat, is arrested in Delhi, and in Tihar Jail must choose between siding with terrorists again or continuing his former law studies.

He chooses the latter, but on release finds that the law is a double- sided game. So he starts his own practice and takes on only the cases he wants. One is of a woman whose mother-in-law wants her house; we learn later that she is divorced, has a child, and that Shahid wants to marry her. He does, and his family reluctantly agrees. But the majority of his cases favor Muslims who have been falsely accused of terrorism, as we move through more terrorist attacks over time, including the 26/11 attack on the Taj Hotel. In every case shown, including the one involving the house, he receives phone threats, until ... This is a very serious film, more like a novel that what we usually think of cinema, in the style of Sinclair Lewis, or on a really good day, John Grisham.

Celluloid Man (2012)

tribute to P.K. Nair

[27 February 2013]

Shivendra Singh's Celluloid Man, another documentary more than two-hour tribute to P.K. Nair, the former curator of the Indian National Film Archives. The interviews with film personalities influenced by his efforts (Nasserudin Shah, Shabana Azmi, Girish Kasaravalli, et al) are as illuminating as the scenes of Nair returning to the places where he had found lost films and the clips from those films.

The scenes where Nairsaab refer's to the movies that have been archived are mesmerizing. This film was screened at all major festivals in India as a tribute to Nairsaab. I had the pleasure of watching the movie with Nairsaab & the director Shivender Singh Durgapur's presence at Bangalore Festival. Who later invited me to his house in Pune, where I eventually went to spend some time with the Legend man of Indian cinema.

Afterglow (2012)

ode to the CHARULATA backstory

[27 February 2013]

Scandal concerning the making of Ray's CHARULATA. Madhabi Mukherjee, who plays Charu, fell in love with Ray. What actually happened (it is said that in India one can have an affair without physical contact) I don't know, but Madhabi's husband forbade her to work with Ray again. This story, according to my friend Mr. Nair, has become an obsession in Bengali cinema ever since. including Ritoparno Ghosh;s ABOHONOM (2010).

Now, in the first film by Pratim D. Gupta, PAANCH ADHYAY (aka AFTERGLOW, 2012), film director Rajat is so distracted by a beautiful teacher who passes by that he forgets he is making a TV commercial. They marry and she becomes pregnant, but loses the child. Rajat in turn falls in love with the actress in his next film, whom he even refers to as Charu. So he has his secret and his wife has one also. They decide to tell each other their secrets against the glowing background of beautiful Howrah Bridge at night,Min very expensive clothes, she in a blue (get the symbolism?) sari.

Rajat convinces her to tell her secret first: she is to die of ovarian cancer in two months, and that's why she lost the child. On hearing this, Rajat says that his secret is no longer important. The last days of the couple together are spent making the best of their situation -- vacations, dinners in fancy restaurants, etc. After the wife's death, Rajat and Charu have coffee together, and Rajat tells his Charu that in those last days he had learned to love his wife more than ever, and that there is no longer a future for this new romance. After he leaves, the actress picks up his coffee cup with trembling hands and drinks its dredges. As a further indication that this is an ode to the CHARULATA backstory, Soumitra Chatterjee appears in a bit part as a character named Harish-da, from whom Rajat seeks advice.

Noor (I) (2012)

tails of a Kushra

[27 February 2013]

Guillaume Giovanetti and Cagla Zencirci's NOOR, a Pakistani-French production, tails of a Kushra(transsexual), Noor, who tires of his life and love as a dancer, steals a truck and heads off for the Swat valley. Noor wants to become a man, and in his flight from civilization meets a female dancer who may inspire him in classical dance and in love. The views of Swat are breathtaking; the ruggedness of the landscape gives an almost primeval feel to the story of uncontrollable emotions and love that can blossom out of almost nothing. NOOR has been to at least five festivals outside India, and at Bangalore and Pune.

Bhavni Bhavai (1981)

Ketan Mehta's comedy

[27 February 2013]

Ketan Mehta's BHAVANI BHAVAI (THE PLAY OF LIFE, 1980) made me wonder why Mehta doesn't try comedy more often. The comedy may be only in the playing of Naseruddin Shah, as an arrogant, stupid king, but he's entertaining indeed. This is one of Smita Patil's more thankless roles, partly because the musical play that she and the king's long-lost son perform in front of the king should have been done in long-shots, to enhance their dance and their costumes. When this film was new, it was noted for its Rajasthani costumes, designed by Mehta's wife, but in this print, blown up from 16mm to 35mm and then transferred to Blu Ray, everything is so faded that that aspect of the film is almost lost. The National Film Archives of India should have the funds, courtesy and desire to go back to the original material for its current releases, rather than just produces cheap, diminishing copies of its own copies, but it does not. As seen at the Pune film festival.

Deliverance (1981 TV Movie)

Made for TV

[27 February 2013]

Satyajit RAy's SADGATI (DELIVERANCE, 1981), based on the Premchand story, does contain one of Smita Patil's best performances, as well as equally fine ones by Om Puri and Mohan Agashe. Om, a poor serf, must chop a log in two for Brahmin landlord Mohan, while the illiterate Smita must strive to remember her grocery list in her head. Starved, Om dies, and Mohan must dispose of his body without touching it. Ray adds so many details (a many- headed idol in the Brahmin's courtyard, the grocery list) that Mohan's dilemma finally takes up very little screen time. Made for TV, this 45- minute film also is now faded in the National Film Archives' copy, and has no subtitles.

Ghetuputra Komola (2012)

dancing boy in drag

[27 February 2013]

Rituparno Ghosh seems to have had a counterpart in Dhaka, Humayun Ahmed. They looked alike, according to the one photo I have of Ahmed, and after an extremely distinguished literary career, extensive television work and ten films, Ahmed directed GHETUPUTRA KAMOLA (PLEASURE BOY KOMOLA), on a dancing boy in drag in rivalry with a (real) queen.

Komola belongs to a poor music group hired by a king to help pass the rainy months, when the king's mahal will be inaccessible. But he's more interested in the dancing boy, an interest that is quite obvious -- the king instructs the boy to dance more with his hips, and their first intimate encounter is made explicit by, in another room, other people overhearing the boy's scream. The poverty of the music group is suggested by the line, as they enter the mahal for the first time and they look toward the ceiling, "That is a chandelier." KOMOLA was entered for the Oscars last year (it didn't make the final cut) and was at both the Chennai and Bangalore festivals this year. Ahmed died of colorectal cancer in New York in 2012.

Balak Palak (2013)

childhood discovery of sex through adult paperback novels

[27 February 2013]

Ravi Jadhav'sd Marathi BP or BALAK PALAK (the long title is a sort of slang, and BP stands for Blueprints, i.e. dirty movies) is to the contrary fairly understated, about a childhood discovery of sex through adult paperback novels and 'A' or more-rated films. The five children involved are not clones of one another, and it turns out that their 'uncle' knows more about teaching them sex education than do their parents. A charming comedy of the MURMUR OF THE HEART variety, but including girls, it begins and ends with one of the couples grownup and trying to figure out how to deal with the sex education of their son: the temptations today are greater -- not just videotapes and illustrated paperbacks, but the internet and beyond.

Dharmputra (1961)

social issues disguised in a romance

[27 February 2013]

Yash Chapra's DHARAMPUTRA is surprisingly good, particularly in it's first half. The atmosphere of an upper-class Muslim home is captured very well, and the performances of Mala Sinha and Nirupa as young mothers of different faiths are good. While Shashi Kapoor as the illegitimate Muslim son adopted into the Hindu family is okay, it's also fascinating to see Rajindra Kumar in a minor role as and even more fanatic Hindu. There's little suspense in the story (the only question really is if Shashi will live or die after he finds out he was born a Muslim) but the first half and the message of communal harmony are handled quite well. It's certainly a Yash Chopra film --social issues disguised in a romance, and still effective today.

Mukhamukham (1984)

intentionally boring

[27 February 2013]

Adoor Gopalkrishnan's MUKHAMUKHAM (FACE TO FACE, 1984) is intentionally boring, and consequently I fell asleep. Rather an obvious negative criticism on the effectiveness of communism in Kerala, it's 'hero' was once a leader of the Communist Party. But after a party split and his absence of many years he returns, apparently in a long sleep, fortified by alcohol. He responds not to his family or his former colleagues. Yet, after his violent and mysterious death, he remains a hero of the movement. This apparently was intended as a more subtle critique, but it proved obvious enough for Kerala communists to break with the director. It may also reflect problems Gopalkrishnan had after a split from his former producer, or on the halting of his projects after several more years.

Dreams (1990)

Nuclear!!!

[10/10 · 22 March 2011]

It must be some dream that Kurosawa had when he was making this movie. The movie is way ahead of its time. Its makes a Lotta sense now that we see what's happening today.

The Red Mountain segment, The Nuclear reactor explosion is very much like the reactors that bust after the earth quake in japan. The difference being its volcano eruption in the movie.

Kurosawa, doing what he does best made this master piece which has be watch a few times to understand what he meant. Among all the movies that he has made this one stands out for the story and concept that kurosawa had in his mind.