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    Reviews

    “A cerebral joyride”
    Karan Johar, filmmaker on REDIFF

    “Among the most charming and creative Indian independent films”
    J Hurtado, TWITCH

    ★★★★✩
    “You don’t really need a big star cast… you don’t even need a big budget to get the techniques of filmmaking bang on…”
    Allen O Brien, TIMES OF INDIA

    ★★★★✩
    “An outstanding experience that doesn’t come by too often out of Indian cinema!”
    Shakti Salgaokar, DNA

    ★★★
    “This film can reach out the young, urban, upwardly mobile, but lonely, disconnected souls living anywhere in the world, not just India.”
    Namrata Joshi, OUTLOOK

    “I was blown away!”
    Aseem Chhabra, MUMBAI MIRROR

    “Good Night Good Morning is brilliant!”
    Rohit Vats, IBN-LIVE

    ★★★✩✩
    “Watch it because it’s a smart film.”
    Shubha Shetty Saha, MIDDAY

    ★★★✩✩
    “A small gem of a movie.”
    Sonia Chopra, SIFY

    ★★★✩✩
    “A charming flirtation to watch.”
    Shalini Langer, INDIAN EXPRESS

    “Interesting, intelligent & innovative”
    Pragya Tiwari, TEHELKA

    “Beyond good. Original, engrossing and entertaining”
    Roshni Mulchandani, BOLLYSPICE

    * * * * *
    Synopsis

    ‘Good Night Good Morning’ is a black and white, split-screen, conversation film about two strangers sharing an all-night phone call on New Year's night.

    Writer-Director Sudhish Kamath attempts to discover good old-fashioned romance in a technology-driven mobile world as the boy Turiya, driving from New York to Philadelphia with buddies, calls the enigmatic girl staying alone in her hotel room, after a brief encounter at the bar earlier in the night.

    The boy has his baggage of an eight-year-old failed relationship and the girl has her own demons to fight. Scarred by unpleasant memories, she prefers to travel on New Year's Eve.

    Anonymity could be comforting and such a situation could lead to an almost romance as two strangers go through the eight stages of a relationship – The Icebreaker, The Honeymoon, The Reality Check, The Break-up, The Patch-up, The Confiding, The Great Friendship, The Killing Confusion - all over one phone conversation.

    As they get closer to each other over the phone, they find themselves miles apart geographically when the film ends and it is time for her to board her flight. Will they just let it be a night they would cherish for the rest of their lives or do they want more?

    Good Night | Good Morning, starring Manu Narayan (Bombay Dreams, The Love Guru, Quarter Life Crisis) and Seema Rahmani (Loins of Punjab, Sins and Missed Call) also features New York based theatre actor Vasanth Santosham (Bhopal: A Prayer for Rain), screenwriter and film critic Raja Sen and adman Abhishek D Shah.

    Shot in black and white as a tribute to the era of talkies of the fifties, the film set to a jazzy score by musicians from UK (Jazz composer Ray Guntrip and singer Tina May collaborated for the song ‘Out of the Blue), the US (Manu Narayan and his creative partner Radovan scored two songs for the film – All That’s Beautiful Must Die and Fire while Gregory Generet provided his versions of two popular jazz standards – Once You’ve Been In Love and Moon Dance) and India (Sudeep and Jerry came up with a new live version of Strangers in the Night) was met with rave reviews from leading film critics.

    The film was released under the PVR Director’s Rare banner on January 20, 2012.

    Festivals & Screenings

    Mumbai Film Festival (MAMI), Mumbai 2010 World Premiere
    South Asian Intl Film Festival, New York, 2010 Intl Premiere
    Goa Film Alliance-IFFI, Goa, 2010 Spl Screening
    Chennai Intl Film Festival, Chennai, 2010 Official Selection
    Habitat Film Festival, New Delhi, 2011 Official Selection
    Transilvania Intl Film Festival, Cluj, 2011 Official Selection, 3.97/5 Audience Barometer
    International Film Festival, Delhi, 2011 Official Selection
    Noordelijk Film Festival, Netherlands, 2011 Official Selection, 7.11/10 Audience Barometer
    Mumbai Film Mart, Mumbai 2011, Market Screening
    Film Bazaar, IFFI-Goa, 2011, Market Screening
    Saarang Film Festival, IIT-Madras, 2012, Official Selection, 7.7/10 Audience Barometer

    Theatrical Release, January 20, 2012 through PVR

    Mumbai
    Delhi
    Gurgaon
    Ahmedabad
    Bangalore
    Chennai
    Hyderabad (January 27)

    * * * * *

    More information: IMDB | Facebook | Youtube | Wikipedia | Website

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Posts By sudhishkamath

Meet the artiste currently known as Prince

April 9, 2010 · by sudhishkamath

“Uncle, photo,” a kid screams out to the Artist Currently Known as Prince as he turns back to scream back: “Uncle? Who did you call Uncle?” The kid smiles not sure how to react. And Prince asks: “How old are you?”

“Ten,” comes the answer.

“I am seven. I just look big because I drink a lot of milk,” says Prince before calling the kid over and asks someone to take a photograph at the Blur Café at Sathyam Cinemas late on Tuesday night.

The press conference scheduled at four kept getting postponed because Prince was stuck in Coimbatore airport. And then, in Chennai traffic. There’s only so much an action hero can do.

But it has to be said that Vivek Oberoi works hard. Here he was at the end of a long day giving at least a hundred interviews in two cities and still at his charming best, promising a leisurely interview over dinner, one hour before midnight with a flight to catch at six the next morning.

Prince is so articulate that he could write the best ever review for his performance in Shootout at Lokhandwala. Sample this: “It took a lot of hard work to create a character like Maya Dolas in Lokhandwala. He was always on drugs, I had to project this laid back, easy, cheetah on the prowl, man who was seething with crazy amount of self confidence that he could do anything. At the same time, his body language was lethargic, arrogantly lazy… If you watch Shootout, it took hard work to achieve that drawl, that easiness in the dialogue delivery, the menace in the eye.”

We disagree on the merits of Lokhandwala but Oberoi has a rather simple yardstick to define good cinema. “I guess when a film fails, it means the audience has rejected your film. It means they didn’t like your work. Mission Istaanbul was a bad film, it didn’t do good for me. Shootout did really well and won awards, it did good for me.”

Does he regret some of the bad films?

“You wake up in the morning, you take the wrong road with crazy traffic driving to office and you regret it. Life is like that, life is about thinking this is going to all right and realising it didn’t work. There’s no science to that.”

He makes it sound like a gamble.

“Do you know what will work? Art by its very nature cannot be manufactured to precision. Art can be born out of a whim, out of an idea, out of a fantasy, out of how a director is feeling on the day he’s shooting the scene, of what weather you had. Bound script is not something handed down by God. Kisnaa, you want to see it? It’s a thick fat bound script in Hindi and English. Mission Istaanbul was a bound script with shot breakdowns.”

That brings us to how to he signed Prince.

“Prince was a film I wanted to do a film that was challenging as an actor and yet in a sphere of pure entertainment. It’s stuff like the Amitabh Bachchan or Rajeev Rai kind of cinema. It’s the idea of a world’s smartest thief. A man who is charming and super smart and the irony is that someone steals his memory. And he has six days to live and he has to find out who I am, why are people behind him and he has girl problems. There are three girls all claiming to be his girlfriend Maya. So it’s paisa vasool seeti-maar cinema.”

But it wasn’t the five months of training, losing 12 kilos, performing death-defying stunt like hanging off the chopper at 8000 feet or jumping from a 32nd storey to a 28 storey building on the other side that bothered him.

“The scariest part of the film was the kiss, man. There were 700 eyeballs looking at me as I was asked to kiss Aruna passionately. And she said, ‘Don’t worry, I will take care of you.’ First I was nervous, now I am pretty much of an expert now. I can put it up on my wall now: Good Kisser.”

“This is a Bollywood hero who can take down 15 guys but with the vulnerability of not knowing who to trust. It’s like Bourne, or the guy in Memento, there are about 84 films (I bet he randomly made up that statistic because 83.967 per cent of all stats are made up) made on guys who have lost their memory. But here the doctor says that he’s medically fine.”

Does this mean we have to lose our memory, leave our brains home and suspend all disbelief?

“There’s Intellectual stimulation and there’s emotional stimulation. It’s the difference between sitting in a park with a nice glass of juice and sandwich and reading a nice book and riding a rollercoaster. Prince is a rollercoaster.”

Nausea-alert for those of you who like to play it safe.

TEDx Talk: How NOT To Make A Film

April 7, 2010 · by sudhishkamath

You can find the original presentation here.

You can download my film  That Four Letter Word from here or stream it from the official IMDB page.

Hands Up: April Fool Special

April 5, 2010 · by sudhishkamath

Episode 6,  Part 1

Episode 6, Part 2

Episode 6, Part 3

April Fool!

April 1, 2010 · by sudhishkamath

That’s the big promo for tomorrow’s Hands Up. The version you saw earlier in the day was fake. 🙂 Don’t miss the last 15 seconds.

Ok, so here’s how we got ourselves some super cheap publicity. Because April Fool is not to celebrate the classy and the intellectual. It’s to celebrate the juvenile and let the mischief out. And since none of us involved here have ever claimed to be mature or serious, we decided to have a little fun only because some of you started taking a rather innocuous comment made by Amudhan rather seriously.

His original reaction to Venkat Prabhu mocking Chennai 28 was: “AM OFFENDED. I AM HURT. I have lost all respect for Venkat Prabhu, Premji, Sudish Kamath & NDTV. To ridicule me is one thing, but to disrespect a defining, epic movie like Tamil Padam is unacceptable. To poke fun of Shiva’s Barathanatyam is simply blasphemous.”

“While I thoroughly enjoyed the whole caper, especially planning these things with Venkat Prabhu and Sudhish, the one thing that was really hard for me to do was to call Tamizh Padam an epic defining movie. I felt dirty after writing that one,” says Amudhan.

The last line clearly indicated that he was joking about the whole response. He only gave his trademark satirical response and he made it rather obvious with his following comment that he was only giving a “typically industry “response (based on a comment made by a certain star who had watched Tamizh Padam). “The one thing i can’t stand is people making fun of other’s work. Don’t u understand that it hurts feelings. It reflects very poorly on your upbringing. I did not expect this from you or venkat sir and premji sir.” (Again, the Sir giving away the tongue in his cheek.)

And to that, Venkat Prabhu responded with: “Mr amudhan… Please kindly take things easy… Like our movies… When u took it on chennai 28 we were cool about it… So chill brother… Next time work on ur story screenplay and direction… U will get much better results… Just as a friendly suggestion…”

Now this is where the game changes because it reads very serious. And I text Venkat asking him if he’s sure he does not want to hint it is a joke. And Venkat texts back saying: “Let’s go with this. Amudhan and me are happy and cool with this.”

Looking at the response it was generating, I decided to add drama to make the tension believable with the Public apology.

And Amudhan suggested we delete his earlier comment lest the smarter ones among you figure out he was kidding. So the reference to Shiva’s Barathanatyam is deleted and I quote him selectively on my blog.
This is where it gets fun (for me). I get about 250 hits on my blog on a Sunday and about 450 hits on a weekday. But four hours after my apology went up on my blog at 8.30 p.m on Sunday, I got a thousand more hits.

On Monday, I got 4300 plus hits. On Tuesday, 4800 hits. And just to make it believable (because people get suspicious around March 31), we stopped posting updates and pretended that the issue was already “sorted out” and insisted that the media leaves the name of the channel out of it. Subversion worked because this is exactly when Behindwoods reported it, followed by Zimbio, IndiaGlitz and some movie buffs who bitch about cinema on Orkut on the Tamil cinema community went overboard with 120 plus responses to What’s the problem of (sic!) C.S. Amudhan? I got another hundred responses over Twitter and Facebook and all this was wholly believable because Venkat Prabhu and Amudhan had a pact to take light digs at each other’s movies in the Tamil press.

Since it was closer to April 1, both of them stepped up the offensive and it got to a place where the entire film industry started talking about it, picking sides, bitching about the other…

So Shiva, Charan, the common costume designer of both crews Vasuki (who also happens to be Venkat’s sister), Vaibhav and other friends of the filmmakers responded and swung into action to patch things up or to advice to stay away from the other. We are pretty sure some of them are going to be pretty uncomfortable facing each other after April 1. 😀

Meanwhile on Tuesday, Venkat Prabhu and Amudhan came down to NDTV HINDU for the fake PUBLIC DEBATE episode (which we hope you know by now is the new episode of Hands Up) and I put up tweets saying that Hands Up will return next week, revamped as a clean, fun, family show.

Gotcha guys there again. Almost all of you fell for that one. I am touched that you guys insisted that it shouldn’t change.

A special word about those who thought they guessed it was a prank… Most of them changed their minds because of our responses ranging from aggressive to blocking them off the FB list and blog comments etc while some just assumed it was a prank only because they didn’t know the detail of how far Amudhan and Venkat had gone to make it look real. They had even taken ads in the papers abusing each other’s films and we were not going to let smart asses play spoilsport. So all you people who believe I yelled at you, Gotcha too suckers! 🙂 Will unblock you soon.

But yes, we admit that it is not possible to fool everyone and some of you smart people did get it and mail us privately in the right spirit of the All Fool’s Day tradition.

Also, our apologies to Shakti Girish, Editor of Galatta magazine who went on record to say that the Tamil film industry did not have a sense of humour and director Gautham Menon who responded to our request to the fake Public Debate byte. A big shoutout to my producer Suriya Narayanan who sat all night to edit the teaser promo and the final one today and ran around to get all the quotes needed for tomorrow’s episode.

To see how all these responses have been used and why and to watch directors prove that they could make very good actors, watch (or you are welcome to skip it if you are mad at us) Hands Up at Friday 9.30 p.m and the repeat at 1.30 p.m and 11.30 p.m. on Saturday and 8.30 a.m. on Sunday with one last repeat on Wednesday 6.30 p.m.

Thank you all for taking us to No.4 of the most watched videos on the NDTV HINDU channel on Youtube that has about 1900 videos.

“Yes, it was all for cheap publicity,” as Amudhan says.

You can’t expect anything more or less from us.

Hands Up will continue to be politically incorrect, juvenile and borderline offensive. If you want something else, watch something else.

Have a great All Fools Day. ☺

End of story. Please move on.

March 30, 2010 · by sudhishkamath

Despite my requests, a section of the media has gone and dragged my name and the channel’s name in their reports.

I take responsibility and kindly once again request you to leave out the channel’s name out of the matter. The issue has been sorted out and settled.

It was all a misunderstanding. As you can see from the clip below, despite their differences, they have moved on. So please let’s not dwell on this anymore. Hands Up will return with a new episode next week after a week’s break due to technical issues.

Anti-Goa Tamizh Padam ads

March 29, 2010 · by sudhishkamath

Public Apology to C.S. Amudhan, Shiva, Venkat Prabhu & Premgi Amaren

March 28, 2010 · by sudhishkamath

Public Apology

I wish to publicly apologise to Mr. C.S. Amudhan, Mr. Shiva, Mr. Venkat Prabhu and Mr. Premgi Amaren for any confusion or bitterness caused by your comments on my show Hands Up in Episodes 2 and 5 respectively.

I realised that started as an innocuous joke misfired big time because of miscommunication and egging done by me (though intended in good humour).  I apologise for the bad taste it has left in all our mouths.

I urge both parties to please make peace. You both make irreverent films and any infighting is injurious to the health of humour in Tamizh Cinema.

I take full blame and responsibility for this misadventure and admit that these comments by either parties were provoked by me in the course of the show.

I hope we are able to end the matter right away now that I have apologised on behalf of both of you to each other.

I admit it was wrong to have poked fun at a superhit film like Tamizh Padam and a cult film like Chennai 28 and it was entirely my fault. It was not my intention to undermine anyone’s effort and hard work.

So kindly accept my apology and shake hands with each other.

Thank you.

Hands Up: Venkat Prabhu & Premgi Amaren

March 27, 2010 · by sudhishkamath

Episode 5, Part 1

Episode 5, Part 2

Episode 5, Part 3

Love, Sex aur Dhokha: The medium is the message

March 25, 2010 · by sudhishkamath

Genre: Drama

Director: Dibakar Banerjee

Cast: Handycam, CCTV, Spycam and some humans – Anshuman Jha, Shruti, Raj Kumar Yadav, Neha Chauhan, Amit Sial, Arya Devdutta, Herry Tangri

Storyline: Life and times of three couples as seen through cameras that best define their relationship

Bottomline: A historic piece of cinema guaranteed to revolutionise independent filmmaking in the country

Whoa!

Dibakar Banerjee makes a film that could be given out to students of mass media around the world along with copies of Marshall McLuhan’s text book “Understanding Media: The Extensions of Man”.

McLuhan couldn’t have been prouder with an updated thesis on film that proves and applies his “The medium is the message” theory to the tech-savvy modern world.

It is the single most significant film to have come out of the country as India’s contribution to world cinema because Dibakar has fused the medium and the message in a way that they are not only intrinsic to each other but in a way never attempted before.

Yes, we’ve had the likes of Blair Witch Project, September Tapes, Cloverfield or Paranormal Activity or Michael Mann’s digital action films that have tapped into the potential of the medium but here’s a film that demands a mix of mediums to tell its story about the impact of the medium and its relationship with society.

For long, film cameras have been our window to love stories and candy floss and the medium of escape has delivered many Happily Everafters because our cinema has strongly believed that Dilwale Dulhaniya Le Jayenge (The Brave Heart Will Take the Bride).

There’s an obvious huge disconnect between that world as seen through the film camera and the same recreated through a video camera simply because the larger than life elements recreated on a tool used for hard news gathering will yield results that are as best laughable. The first in the inter-connected stories explores the relationship between the young naïve believers of cinema and the male chauvinistic society and life meets film.

We see this story through the eyes of a video camera that records the larger than life (film), the intimately personal (as the filmmaker confides to the handycam, addressing Aditya Chopra, the guy to have given an entire generation hope that you can manufacture parental consent for your love story) and a tool that also captures the brutal realities of life by becoming a silent observer documenting the consequences of life imitating art. The film and video cameras represent romance or love (from the title) because they tell stories that are personal. These cameras like love provide the society ESCAPE from their everyday lives.

The second story in the film is all about the other big revolution in recording life – the omnipresent surveillance cameras that are watching and recording every single move of ours in public spaces. We are aware of their existence and trust on those managing it to not exploit the medium. Our behaviour and relationship with these cameras is defined by our reluctance to do anything remotely private in public eye. Which is what makes the voyeurs excited on the potential of this technology. Dibakar captures the primal need for sex in a story where the controllers of the medium take advantage of the subjects at their most vulnerable state. Not just for sex itself but as sex for the society as a whole – porn.

The third and final story is about how the intrusive medium can be used to completely betray the subject because the person who is being watched may have absolutely no clue that a spycam is capturing every bit of his deepest, darkest secrets.

Yet, there’s Love, Sex and Dhoka in all three stories and the genius filmmaker connects them in a way that these stories influence and resolve each other, sometimes for the worse and sometimes for the better.

The ensemble is just brilliant and at no point in the film you see them as actors. This is reality cinema at its best with all elements you usually associate with the larger than life genre – romance, action, comedy, song and dance. But most importantly, it holds the mirror to the male-chauvinist society and shows us our ugly side – we at our most unflattering, despicable real selves. Yet, it leaves us with a little hope of what we are capable of doing.

Clearly, the best film to have come out of Hindi cinema in ages.

Hands Up: Pravin Mani & Srinivas

March 22, 2010 · by sudhishkamath

Episode 4, Part 1

Episode 4, Part 2

Episode 4, Part 3

Page 17 of 90 « Previous 1 … 15 16 17 18 19 … 90 Next »
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