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Reviews
Kurbaan (2009)
A fine film albeit with one glaring plot hole ..SPOILER
Having recently rewatched the film in 2019, a decade after it first released, I continue to be impressed by the style, tone and restraint shown by the Director and team, in presenting this not unique story in a very un- Bollywood manner for its time. The fact that an unabashed commercial production house, and an uber-commercial Bollywood director who glossed the patent Bollywood tropes for a new generation in the nineties, as producer, made it even more impressive. Of course now in 2019, mainstream Bollywood has come a long way, with the script, and treatment, becoming the undisputed kings or queens of any successful box office film - and under appreciated films like Kurbaan doubtless paved the way for a whole new generation of directors and scriptwriters. Nevertheless, one glaring plot hole remains incredulous - why was the one phone call that the house-trapped Kareena character managed to make not to the police?! The character is shown as being a long time US resident, and would surely have known that a 911 call would have both saved the doomed Flight 911 from taking off and brought the police to the doorstep of her captors! But of course the film itself would then have run out of any dramatic steam and come to a quick and abrupt end.
Green Room (2015)
Dread-full
On my watchlist for some time now, finally went through it on a lazy afternoon on Netflix. Intense, graphic, atmospheric, minimalist and amply satisfying THRILLER, not horror, though horrifying things do happen to both protagonists and antagonists. Plot on the weaker side inasmuch as motivation for the mayhem is concerned, as also the reasons for the volte face of at least two key characters. But overall a satisfying watch with commited performances.
Slumdog Millionaire (2008)
Slumdog Millionaire - Two points of View - View 1- from Ajoy Gupta, London
Ajoy Gupta's (London) View : I hadn't read any of the reviews of "Slumdog Millionaire"..(SD)... wanting to see the film without any preconceived notions or judgment's about its mounting success with audiences in India and the US/UK. Last Thursday evening at the Odeon Swiss Cottage (London) was the day set for my date with SD on the big screen!!......How disappointed I was! I left thinking was it the UK media sensationalism accorded to the film that was the cause for its success in India?? What was it about the film that caused so much hysteria in India and nominated for 7 Baftas I ask myself! Don't get me wrong. the film was watchable, and endearing in parts, but lacked any deep content that would move or inspire me, there was nothing deeply thought provoking or anything rooted in deep sentiment or fabulous imagery that left me spellbound!!...which for me.. would normally be the general perquisites to justify an award nomination!! This is a film by a talented, humble and amiable British director, Daniel Boyle
so the direction was through his perspective on India and issues that govern Mumbai and its Slum dwelling citizens The film unveils how a "slumdog" Jalal Malik enters the Indian equivalent of the TV quiz show "Who wants to be a Millionaire" and miraculously answers all the questions to win 2 million Rupess!! During his cross examination by the Mumbai police (on being accused of cheating) the camera explains how Jalal knew the answers. By panning to and fro from the interrogated "Jalal " to the childhood Jalal, the viewer is shown, through endearing snapshots of Jalal's childhood experiences, how he is able to answer the majority of his questions. His ability to correctly answer a question asking what the Vedic mythological figure Lord Rama holds in his right hand was owed to his childhood memory of a violent mob attack on his community, an attack based on religious intolerance. Jalal recalls how his mother was brutally beaten to death, and in the distance he recalls a vision of young boy clad in a Lord Rama costume armed with a bow and arrow! I didn't think there was a need to show such a scene depicting communal violence within the context of this film, and that too without doing it responsibly, objectively and informatively. and without putting it in its true context, (which is that the dynamics of politics & social history in India have compromised communal harmony to the point that communities of all concerned faiths have been victims). Yet despite this, the country still maintains a semblance of religious and cultural unity. The film did bring to light the darker and deeply shocking side of the Mumbai underworld and its abuse and exploitation of slum dwelling children, and I feel heartened that this film has gone some way in giving such children a voice and making the international community aware of their plight. For me, the real heroes of the film were the child actors
the young Jalal, Salim and Latika
watching Jalal and Latika's evolving affections for each other, the complex relationship between Jalal and his brother Salim, and the trios struggle for survival in a godforsaken world, was gripping viewing. The free spirited way in which these so very young actors portrayed their characters with such conviction, guile, charisma and on screen talent thoroughly deserve their nominations for the Oscars! "Feel goof film of the year"???!!..."Mesmerising"!!??..."Unforgettable"??!!....I beg to differ
.an ordinary film, depressing for the most part, punctuated with a handful of endearing scenes. Its appeal is in its ethnicity, its "bollywood" flavour
which is very pastiche in the UK right now
so one might understand the popular appeal in the UK (given its passion for exotica), but why in India?? By Bollywood standards, there is nothing in the film that would stand out compared to the thousands of films that Mumbai film industry churns out each year. The fact this was a foreign film (albeit with Indian actors) directed by a Brit and nominated for seven Baftas may have something to do with it?
Sonar Kella (1974)
Outstanding!
Satyajt Ray has always been revered at home and abroad as a true maestro but (especially in the West) it has been his serious cinema that have been the focus of all adulation and admiration. It is little known outside of his native Bengali community his equal brilliance at writing short stories and novels for children, including the creation of two of Bengali modern literature's most loved characters - Feluda and Professor Shonku.It is in this first screen adaption of one of his popular Feluda stories - Sonar Kella, that we see how far the man's creative dexterity really extended. I remember seeing this film when very young and till date it remains evergreen in my memory, so much so that when I think back on the very many memorable moments from it, my subconscious extracts images from how it appeared on the cinema screen, rather than on TV - this in-spite of numerous repeat viewings on broadcast,video and now DVD. That is saying a lot for the indelible first impressions that this movie made on me.Like most great directors, Ray was blessed with a special empathy and "connect" that enabled him to extract remarkably natural performances from children, even very young ones - this is never more manifest in any of his other movies(with the notable exception of his first - The Song of the Road), especially in the scene when a child actor, playing a bit part, recounts his experiences while being mistakenly kidnapped and held captive instead of the main protagonist - completely mindblowingly natural. Apart from the great background score (composed by ray himself),technical polish,perfect casting,great performances,superb editing and cinematography, this film stands out for the outstanding,larger than life portrayal of the state of Rajasthan(almost like a character) and it's unique natural beauty and romanticism,characterized by deserts,camels,forts,peacocks,steam engines,mystery men and vibrant colours. This lent the movie a Hollywood summer blockbuster action/adventure sheen, which has never before or since been achieved in Bengali cinema. Brilliant!!!