Rockstar: Some youthful, some passionate

In 2012, I encourage every film buff to sign a pact that reads “watch each Ranbir Kapoor film.” The least one can expect is to see an acting talent that’s terrific, effortless and convincing. He is probably the one who was rightly crowned ‘promising debut’ for a film that was a disaster (I haven’t seen ‘Sawaariya’ yet, it appears just too dark blue). As far as credibility goes, he is one actor who doesn’t disappoint. Recently I heard ‘Wake Up Sid’ was a box office failure and I am still stunned (of course, I haven’t made an effort to validate the statistics on box office success). To me, it was one of the finest films made in Hindi Cinema: pure, unadulterated modern day sensibilities minus masala and drama.

Then, I wonder, in a country like India box office success (BOS) may have very little to do with ‘artistic brilliance’ of a film. BOS is a measure of mass appeal items including masala, item number, larger than life heroic personas (read Chulbul Pandey, Singham) among others that connect to a majority of a billion population. With this itemized checklist a visionary director (and producer) loops in the youth wanting to be the real life hero in the streets, kids humming and dancing to ‘Sheila ki jawani’ and an entertainer for the overworked working class during the week. However, I think there are films, that apart from the business of money, give a visual dimension to a story. A story that exists as is, unadulterated with the idea that the end result is expected to derive revenue. I, of course, have no means to substantiate but I wonder how many in my favorite list (Wake Up Sid, Fire, Mrityudand, Virasat, Hum Dil De Chuke Sanam, Jaane Tu ya Jaane na among others) were actually made with ‘revenue’ as the end target? Some may have big names in the actor fraternity but the actor is only complimentary to the artistic dimension of the movie.

Recently, I find a majority of the movies have become more of marketing and money. Some like “I hate love storys” attempt to connect to the 20 something audience who are probably untouched with the perception of love. A story like that comfortably sits on a rating of three starrer - thanks to the chocolate hero, the heroine with a flashing smile (probably the only thing she knows to do) when the rating should rightly be credited to the designer clothes she wears, the art direction (read sets) and cinematography (read fancy, foreign locales). Not that anything is wrong with making money or marketing, but when it comes to performances art and acting stands out. Recalling the remake of ‘Stepmom’, ‘We are family’ probably made all the money it was expected to, but to an audience that connects to both the “woods”, Kareena fails miserably to Julia. Three straight sets, 40-love (that is if women decided to play five in the first place). And who the eff was the director who eff-ed the film? The direction was a nightmare!

Okay. Now, I have been slightly off tracked, so back to Rockstar and here’s why it stands out. Everybody loves Jordan (Ranbir), to begin with. Same sensitive chocolate boy who befriends the most beautiful girl in college. Chocolate boy transforms into a stubled, rugged boy who encounters tryst with lust. Further metamorphosis into a wild rockstar who has his heart where it belongs, wrapped and treasured with his only lady love. The fact that she is married is secondary. Jordan’s bohemian appearance is very eastern influence. I don’t get the songs but that’s my bad. The debut heroine does the best that’s expected of her, in this case ‘stay pretty throughout the film’ (for some reason, Madhubala made a fleeting one minute memory ride). For a debutant, her act is decent. However, all the first timers can take a lesson or two from Deepika in OSO. Sensational screen presence, blew me away. Plus if the writer and director do their job well, an unrequited love story (remember the end scene with Shiny Ahuja behind bars - no pun intended - with Kangana Ranaut in Gangster?) connects deeper than a Anjali-Rahul (KKHH) convenient timing.

A personal request to the directors. When your actress in the main lead is whoring around inspite of being married avoid dialogues to the effect of “ye galat hain” translates as “this is wrong”. Remember Mallika Sherawat in Murder? Either they learn to control and overcome their urges or simply understand that we, the audience, are adults. We understand women have desires too and they have a right to be erotically aroused (read horny).

All in all, a decent movie to watch once. Better among any contenders in the recent quarter. It reminded me a little of Notebook - youthful and passionate. However, I would probably watch Notebook thrice in a lifetime; Rockstar, for now, I can only do once.

Adding a little more emphasis on “marketing and money” vis-a-vis “artistic brilliance”, “3 idiots” and “Taare Zameen par”, although significantly overlap on both counts, I suppose the latter was an end product of a story to be told. The prior was a brilliant, choreographed effort to connect to a majority of the audience.

ZNMD

Firstly fun; humor that tickles and evokes ‘LOL’ over a few instances. Fortunate friendship equations that never go out of style. Mesmerizing glimpses of beauty in the sea and Spanish locales. Melodious songs. Intense poetry. Self realization, in parts. Wounded hearts. Overcoming fears. Myriad dimensions of Zoya's recent baby!

Six months back I was speaking to a friend and said “In a world of serial and speed dating, people fail to be romantic anymore. How often does someone throw in a pleasant surprise or morning breakfast? How often does someone travel miles for the pleasure of a simple prolonged moment?”

So, obviously the lasting impression of the movie is the scene where Laila puts her rockstar bike in gear, travels a few miles to taste the lips of her new found romantic lovah. I appreciate the effort invested in travel for the momentous joy of that “one kiss”. Simple, pleasant, gentle, loving and perfect. And after a job well done, she gets back to her business of life.

Something totally unrelated but has real life Laila gotten a little chubby during the shoot?

Although, I wonder why is the movie called so - ‘Zindagi na milegi dobara’! Of course, we all know it but wasn’t it only a super extended bachelor party with bucket list items?

I like the fact that Hrithik and Katrina do not play or appear stars in the film. They blend in with the rest of the cast as regular beautiful people. Is it the Zoya effect, I wonder? Her last film (Luck by chance) tells me she likes to keep it real!

I enjoyed the film and since one can be responsive to humor only in laughter, I would encourage everyone to watch! Its not a movie I would watch twice, however surely won’t miss a big screening!

Go Zoya, I likey!

Notting Hill

I must have watched Notting Hill 25 times. I have two DVDs - one to rent out to friends and the other I keep to myself. The movie must have grown on me - like Bangalore or friendship. The only first impression I have is of Anna in a blue skirt flashing her billion-$-gorgeous smile saying a few moments later “I am only a girl, standing in front of a boy, asking him to love her”. This line probably made it to the top ten romantic quotes of the century, but for me, it has been her radiant, magnetic, lightning smile that squirts a breath of fresh air at everyone who spotted it. 

Some people are endowed with an aura that overpowers their own beauty with a dimension of character. This aura defies the theory that beauty is only skin-deep; the character feels like the soul, while beauty is only the body. My top five in alphabetical order include Clooney, Jolie, Julia, Madhuri Dixit and Rekha - some fabulous fabulous gifted beings. I wonder if anyone stands surprised that Julia is getting paid a million pounds to appear in a coffee advertisement where she doesn’t have to utter a single word? Though in all probability, I bet, she smiles. 

Coming back to the film, I get to see Julia in multiple makeovers - The suited polished actress at interviews who lets her hair down self inviting herself as Will’s date to Honey’s birthday, the fastidious British woman who impudently asks Will to “have tea, there's lots of tea”, the girl with a flashing smile who makes the proposal, the powerful hollywood actress on the red carpet as the movie begins, the junior strong headed army personnel rehearsing her dialogues in a white tee among others. The story may be a little fairly-tale like but come on - we have to be a little open minded to the tiny possibility of a larger than life moment - shouldn’t we?

Right since the onset through the end, I very often find myself smiling - be it the cleverly scripted lines such as “get you spick and span out on the streets, in a non prostitute sense ofcourse” or the earthy demeanor of a hollywood star in responses such as “tempting, but no thank you” on being offered Rufus' phone number, an absolute nobody who attempts to steal a book from Will’s travel book shop. The movie is subtle and suave in etiquette except for a couple of ferocious, outrageous outbursts from Anna. Hugh Grant as William Thatcher does a good act of a down-to-earth British gentleman and adheres to the gentleman-tag sincerely. 

The soul of the story is in its plain, real-life, simple, say-less-do-more moments. That is the reason why the movie sits in no. 2 position of my all time favorite movies.The fact that Julia is the means to deliver some of these moments only makes them perfect such as the ‘oopsie daisies’ garden scene where she reads out loud the scribe on a wooden bench “For June who loved this garden. From Joseph who always sat beside her”. In these two lines, she reads out the story of a couple who spent their lives together with the garden being a significant part of them; the gesture where Anna brings Will the Chagall painting of a “goat playing violin” from home and is probably the original masterpiece; or the simple appreciations we miss that life hands out to us as told by Bernie “...anyone saying they want to go out with you is pretty great, isn’t it?”; or a dinner table conversation that says a lot about friendship where we see people who have grown together through the years and it doesn’t matter how much money you have made or how successful you are - as long as you have friends who are willing and excited to throw you a birthday dinner party!

I wouldn’t call this movie ‘romantic’ - I would probably designate ‘Pride and Prejudice’ as the most romantic ever and ‘The Notebook’ somewhere in the “romantic” zone. Although Notting Hill to me, says substantially about love and commitment. In spite of non-cordial state of events between Anna and Will, they keep going to each other - pretty shamelessly - asking, hoping - probably wondering in anticipation of a ‘happier-state’ of mind. Isn’t that how love feels like sometimes? You reach out hoping the other one is available and you have a shot at being with them?

On the commitment bit, the proposal in this movie is my no.1 ever in film history. Its magical with its weighted words and questions without going down on the knees, the will you marry me?, or “yes” with a tear drop from the actress’ eye bullshit. It happens in a press conference with tens of reporters, spontaneous camera flash lights and a twinkle in Anna’s eyes as she says ‘indefinitely’ and ends up with a pregnant bump at the end of a song reading a book - probably on the same bench that was dedicated to June. 

Thank you Roger Michell, I love you for directing such a wonderful movie. This one is for keeps. 

Happy Valentine’s Day everyone!

Dhobi Ghat: the journey?

The first ‘wow’ factor of this story is the depiction of today’s India by Kiran Rao and I fail to recollect any other director (story-teller) doing it as splendid as she did. Its either been the king size millionaires such as KJo’s Sam in ‘KANK’ or the poverty of Danny Boyle’s ‘Slumdog millionaire’. India is of the haves and have-nots and the whole spectrum in between, and Kiran Rao covers this Indian demographics brilliantly representing Munna from Dhobi Ghat to the investment banker Shai from New York.

The story is of Mumbai as much as its people, which has become home for millions born outside of the state; the lucrative charm and buzz the city drapes; a city that allures thousands each day to fulfill their needs and dreams - be it the satiating dose of daily bread and butter or being an actor. Mumbai is the stage and its people are the actors - they do their part of daily chores be it washing by day and rat-killing by night. Some listen to their hearts and metamorphose those feelings onto a canvas while some visit Mumbai for fresh perspectives. 

Then we have Yasmin, who is fated to make Mumbai a part of her life even without her conscious independent decision. She makes the place her home being married to a guy living here. She is my favorite in the movie - the demeanor of a beautiful middle class girl who makes conscious attempts to keep her happy through cab drives by the marine drive or (window) shopping for dazzling bangles; making excuses for not participating in the animal wrath of Bakri Id or cooking a delicious meal hoping her non-responsive husband would enjoy it. Beyond all these attributes her fondness for her brother makes her more endearing as she decides to share her life with him over videotapes. Her enterprising behavior to start man handling a video cam and shooting is incredibly applaudable!

Then there is Munna (Zohaib). He’s such a beautiful boy (I probably like him more because he is Smita Patil’s son :) ) and the only one who probably gives the audiences a few laughs through his coy love-smitten gestures or parody of his love-situations. 

The story covers part of the lives of Arun (the painter), Shai, Munna and Yasmin and how they intertwine with one another. At first, I am little thrown off with Shai being “into” Arun as a result of one night? Kiran Rao didn’t quite connect to me on that - I mean it takes a little time to be into someone right? Or I totally missed the part where Shai had followed Arun’s artistic life earlier on and so was “into” him?

All in all, this movie is extraordinary with its ordinary pieces. If you are looking for a great laugh, entertainment, purpose, accomplishment, happily-ever-after-scenarios then you shouldn’t watch this one. This movie is about the daily lives we live and it is upon us to perceive the vision as extraordinary - in moments, in dreams and in the things that we touch and those that touch us back. Imagine that monsoon sunday where you willingly got wet walking the marine drive, then treated yourself to a hot chai cutting by a tapari and kanda bhajis, then got wet again, had five more chais’ and stuffed your mouth with wadapaavs. Later as the rains closed, you sat on the wall fences and watched the roaring sea. You probably peeped onto a beautiful stranger and smiled. Of all the life you have lived, you never forget this day because it has been special with its ordinary moments. The only accomplishment is a day well spent - not because you laughed too hard or cried  - but because there is something of the day that rubbed on you and you felt like you lived the day. 

Such is this movie. It told me, its not about the destination, its about the journey. The destination is only the end and journey is the means. For Yasmin, its not about why she chose death but the days she chose to live happily and share with her brother. For Arun the loner, he would never forget that he wept like a baby over the death of a perfect stranger. Munna keeps our hope alive to dream and make it big. For someone so young, he has the courage to let the fond being of his heart go when he gives Arun’s address to Shai. Shai is our tutor to love in the moment, without wondering and expecting whether who we love shall ever give back what we aspire? She is our freedom to love because some hearts know that ‘love’ is an involuntary, independent emotion.

Many may not find the movie marvelous but the background score is undeniably enticing. It is the score of the back-piper that shall drag music lovers to the cinema halls (or at least websites to download the score).

Good work Miss Rao - just as we expect from someone like you!

Under the Tuscan Sun: Life is strange

I had seen this one and then picked up the DVD in Crossword one day. Watched it twice again and the third watch impressed on a unique characteristic that “life” is endowed with. ‘How is life meant to be?’ may evoke a million responses such as “Life’s an ice cream - lick it before it melts” and blah blah blah. This movie makes an impression in Patti’s (played by Sandra Oh) words as ‘life is strange’ - in a mysterious, good way. It encourages you to have all the dreams you desire and life figures its own means and ends to realize it. You don’t always get what you have imagined, but life has an ability to surprise you - quite pleasantly.

I like Diana Lane in a very ‘America’s sweetheart’ kind of a way. She seems like the kind of woman who is a great girlfriend and wife, an excellent daughter, someone who can make the mum-in-law happy in the American way of life. She seems like an older, winish sister of Jennifer Aniston - just more womanly. ‘Must love dogs’ is another good movie to catch her in.

Pay close attention to the first 15 minutes of the movie. An era of a life is covered in these. If you have empathy, you would probably relate to Frances’ (played by Diana Lane) surrender of ‘materialism’ that she leaves behind at her own place, decorated by her mother’s money losing it to her now divorced husband. She only chooses to empty a small vase and take it with her to use as a pen stand apart from her invaluable books collections. She’s a writer and a brilliant one - the movie manages to highlight what she does for a living beautifully.

The story is about her second innings in life where she goes on a tour to Tuscany and buys a house on a whim - a result of a cosmic sign labelled ‘Bramasole’. The movie is packaged in the parcel that reads 'Something like life' and is an absolute delight hereafter from the sorrow of loneliness to finding a house that you can make home. Repair, reconstruct, renovate and connect. Find people who help you do that, find guidance and good will, build bonds. Look at life through the eyes of a master piece (Fefe’s somebody) and be inspired. Get carried away in the joy of cooking grand meals. Flirt, romance and be hurt. Yet don’t give up on love. Birth your lesbian friend’s baby. Wish to make a new family, how much ever late in life. Provide ground for horny teenagers to let go of their raging hormones *please smell sarcasm here*. Have a spiritual unspoken relationship with a man who brings flowers to a possibly departed loved one. 

When I saw the credits, I wasn’t surprised to see that this was directed by a woman, Audrey Wells. The movie has a feminine touch throughout and Diana Lane did absolute justice to it. The only other actor, who could have been brilliant is possibly Meryl Streep.  Apart from feminity, the story comes with very smart wits such as ‘Florence is an hour away. You are going to have your baby delivered in a hospital gown designed by Armani’. The movie gives you a few good laughs and a feel-good throughout.

Sandra Oh makes a good impression of screen space shared by her. A brilliant actress who is probably more famous now as Christina. 

Though I have covered the moral and synopses, the brilliance of the movie is in its direction; its ability to emote onscreen that make it a visual delight. Its almost therapeutic.

Ooh, and I almost forgot the key visionary message - 'They built a train track over the Alps to connect Vienna and Venice.They built these tracks before there was a train in existence that could make the trip.They built it because they knew someday the train would come'.