Author: arnab

the motorcycle diaries

has this not been discussed here yet? we finally got around to watching it this weekend. our expectations were high–partly based on the recommendations of others, but mostly on just how much we’d both liked central station. however, i found the motorcycle diaries to be curiously uninvolving. perhaps it is a built-in problem with any biopic of an iconic figure, especially of the “early life of” sub-genre that the film’s present can’t help but serve as background material for the spectacular myth–providing a series of aha! moments: “so, that’s when he began to think about oppression” etc.. it is also a problem if the “early life of” doesn’t complicate the myth: it turns out che was always a noble sort. without this narrative tension what you have is a lovely travel advertisement for the andes. and maybe that advertisement looks so much better on the big screen that these other issues pale–i don’t know. central station was also visually stunning, but went over similar political ground far more dialectically (oooh!) and movingly.

but i sense disagreement in the ranks (and i don’t know yet what sunhee thought of it–i’ll try to get her to post).

light, frothy fun

keeping the topic title general so that others can add to it as well, but what i really want to plug is a bollywood blockbuster from this summer: bunty aur babli. a wonderful piece of entertainment about a young man and a young woman from two small towns somewhere in north india who decide that they want the kind of exciting life that they read about happening elsewhere in the country. so they run away, meet each other and begin a life of cons and scams. the plot (or the film’s view of the small town/big city divide) doesn’t hold up to much scrutiny but the film is so giddy it doesn’t matter. the actors–abhishek bachchan and rani mukherjee–are perfect, the writing is good (and the subtitles mostly adequate), and the direction and music are also excellent. the movie does sag for the last 25 minutes (it is about 2 hours 40 long) but moves pretty quickly until then. i think it should be pretty accessible to non-indian audiences, though some of the nuances of accent and demeanour (which are codes for issues of class etc.) will probably get lost. netflix has it, so if you’re interested in mostly mindless fun or in seeing what’s big in india these days, rent it. it also features a blockbuster “item” song (featuring aishwarya rai) that’s been all the rage in the country for some months now.

character actors

hijacking the brief nicky katt sidebar in the “layer cake” discussion and opening it up to other people we don’t see very often or in very large roles but would like to see more of.

(katt, by the way, is very good in “boiler room” and in a brief appearance in “school of rock”. he’s one of those people who disappears into his characters and i’m often surprised to see his name in the credits.)

i would add mark rufalo to the list but he’s in a lot lately. he was also wasted in “collateral”. how do you lot feel about giovanni ribisi? he was also excellent in “boiler room”–then again whoever directed that film also drew solid performances out of ben affleck and vin diesel. ribisi was also good in “the gift” which features a shockingly good performance by keanu reeves (who i don’t wish to see very much more of). has he been in anything which doesn’t feature crap actors acting unfeasibly well?

behind the numbers

an interesting article from slate on how hollywood movies really make their money. turns out that the theater box office contributes less than 20% of the money made on movies. dvd is where it is at, and with dvd sales up it isn’t always the movies that did best at the box-office that sell the most dvds. but no, this doesn’t mean that smaller movies have a more democratic shot at a second life:

For merchandisers like Wal-Mart, DVDs are a means to lure consumers, who may buy other products, into the store. The box-office numbers are of little relevance (especially since it’s teenagers who create huge opening weekends, and they cannot afford to buy more profitable goods like plasma TVs). Instead of box-office results, merchandisers look for movies with stars such as Tom Hanks, Julia Roberts, or Arnold Schwarzenegger, who have traction with their highly desired older customers.

i guess the fact that it took “after hours” so long to come to dvd means that scorcese’s audience doesn’t buy plasma tv’s either.

offbeat bombay films

since no one else seems to be watching any movies (no new discussions in a week) i’ll start a thread on non-mainstream, yet not quite arty bombay cinema. in the u.s these might be equivalent to indie’s or studio-indies:

“company” and “naach” (both by ram gopal varma). varma is an interesting young director who formally and thematically works out his ambivalent relationship to the bollywood aesthetic in a number of his films. “naach” in particular seems to be very much about the question of relating to and functioning in an industry with a history of formulaic pandering to audience expectations. it also shows he’s been watching a bit too much of wong kar wai.

“haasil”–mentioned this earlier, will repeat the recommendation so someone watches it.

“yuva”–mani ratnam’s most recent. more within the bombay mainstream than the above but may warrant inclusion here. ratnam may be the most technically adept director working in bombay (he’s really a tamil filmmaker), certainly the flashiest. “yuva” is about the intersecting stories of three sets of young people in calcutta and their life-choices etc. some stunning set pieces, including a particularly violent opening game of kabbadi in a prison and the climactic fight scene in traffic on a bridge. should be quite accessible to americans.

will add more as they occur to me.

haasil

watched this last night on a friend’s recommendation. this is a low-profile bombay movie from a few years ago that is set mostly at a university in a smaller indian city (allahabad). there are no major stars in this but it is a wonderful little film. actually, it is like two films: the first half is a spot-on profile of the criminalized politics at pretty much any indian university, with a nicely observed and detailed love-story woven in; the second half becomes a little more formulaic but is still rousing stuff–the finale, which is set against the backdrop of the maha kumbh mela in allahabad (millions of people descend on the town for this festival that occurs every 12 years,) is not as exciting as the netflix dvd sleeve makes it out to be but is still very good. it is very well shot as well–very atmospheric (the credits sequence in particular is one of the best i’ve seen anywhere in years). and the performances are all amazing. as non-hindi speakers you guys will miss out on most of the nuances of dialect and accent (and how they further detail the characters) but i think you’ll like it very much anyway. this is more solidly in the bombay tradition than something like “company” but don’t let that stop you. now i need to find out more about this director.

one note, if you do decide to see it: in the subtitles you’ll see the two student-leaders constantly being referred to by their hangers-on as “boss”. the literal word being used is “bhai” or “(elder) brother” (as in the kitano film), and i don’t know why they didn’t use that.

bollywood recommendations

following on my brief comments on indian art cinema in anothe thread i thought i’d make some recommendations of bollywood films for the benefit of those who might be interested in a somewhat structured experience of the industry. first, a little definitional clarification: “bollywood” refers to the popular bombay hindi film industry. it is not a catch-all term for any indian cinema (as it is often used in american circles) and nor are people like gurinder chadha or mira nair bollywood filmmakers. these people use certain bollywood conventions in some of their films (nair entirely exploitatively/exotically) but they’re no more bollywood than someone like baz luhrman in “moulin rouge”. second clarification: this list, sorted by decade, is restricted to what’s available from netflix. i can expand it to other titles as well if people are interested (i am not sure if netflix is a good indicator of availability) . this is, of course, an idiosyncratic, highly personal list. as it should be. not sure which of these will “translate”–take your chances.

Continue reading bollywood recommendations

indian regional and “art” cinema

the magazine outlook is celebrating its 10 year anniversary with a series of articles on indian film, 1995-2005. the entire issue is here. one of the more interesting articles is this one which makes the case that while bollywood has swamped all other indian cinema in marketing terms, excellent regional and parallel cinema continues to thrive. after summing up the dominance of bollywood chatterjee writes:

Continue reading indian regional and “art” cinema

kinsey

another film recommended by well-known deviant james kincaid. and it is easy to see why kinky mcperv likes it so much: it takes the salacious, sex-mongering of a deviant and presents it as valid “research”. which, of course, is what kincaid himself does (once again see comment #4 here).

actually, “kinsey” is an excellent movie and i recommend it highly. directed by bill condon, who made the excellent “gods and monsters” some years ago, this is what every biopic should aspire to: an adult presentation of a complicated subject that neither canonizes him nor shoehorns his story into some existing template of well-meaning saint/savant triumphing against conventional morality. i don’t want to say too much about the content until more people have seen it, but i will say that i have not seen so many strong perfomances in one movie in a while. there isn’t a false note here: laura linney and peter saarsgard are excellent in the main supporting performances; in the smaller parts, timothy hutton and chris o’donnell do a lot with little; and even tim curry and the tragically underemployed oliver platt restrain themselves. at the center of all of this is a great performance by liam neeson–this is the kind of performance that makes you forget that there is “acting” going on.

watch it.

a mixed bag

recently in the dvd player: “the alamo”, “zakhm”, “hum dil de chuke sanam” and “swades”. two pieces of crap, and two decent but overly worthy efforts. crap first:

“the alamo”: uninvolving, pointless, trivial. even something jingoistic would have been preferable to this lifeless mess. the sad thing is that it seems to think it is a clever movie which has interesting things to say about mythmaking and nationmaking. it does not. the only plus i can think of: i finally know what a bowie knife looks like. other than that this is an exercise in costume design. the guy playing santa anna chews some scenery but only half-heartedly.

“hum dil de chuke sanam”: i’m ambivalent about reviewing bad bollywood films here since most of you are unlikely to watch them unless i recommend them very highly (and of the ones i have recommended mike’s seen “company” and that’s about it i think). so i’m not going to spend too much time on this except to say that no one exoticizes india like indians themselves and that this film may have been written by a particularly stupid 12 year old. the liberalization of the indian economy in the 90s saw the rise of both a big spending leisure class and the expression of a complicated hindu chauvinism. this film, like many other 90s blockbusters, speaks to both–on the one hand providing aspirational fantasies and on the other, in the guise of critiquing it, repackaging patriarchal tradition.

Continue reading a mixed bag