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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

The Pursuit of Happyness: Mr & Jr. Smith make us happy

March 9, 2007 · by sudhishkamath

The thing about underplaying is that it is under-rated. Will Smith does it so well in ‘The Pursuit of Happyness’ that he makes you wish they did give him that little piece of sculpture after a well-deserved Academy award nomination.

Yes, it’s one of those ‘role-of-a-lifetime’ portrayals. Uplifting. Equally endearing is Smith Junior’s supporting act. The real-life father and son are the perfect foil to each other in this film that somehow seems inconceivable without their chemistry. The Smiths are the pillars of the film.

Though based on the biography of stockbrokerage entrepreneur Chris Gardner, the film takes a few liberties, exaggerates a few facts (Gardner was paid a $1000 stipend during the internship but in the movie he gets none), simplifies some (Gardner’s son was hardly a year old when he takes custody of his son and was secretly homeless for a year but in the movie his son is five and they have to survive homeless only for a few months), but stays true to the undying spirit of the man in his pursuit of happiness, or ‘Happyness’ as the daycare run by Asians teaches his son.

Director Gabriele Muccino makes the most of Steve Conrad’s screenplay to give us one of the most memorable films of the year, working around the predictability of a rags-to-riches narrative (a broke-to-broker story rather) by floating moments of hope in the middle of all that struggle and despair, punctuating the ups and downs with heartwarming moments of father-son bonding.

Even the heavy Bone Density Scanners that Gardner sells in the film, probably metaphorical of his swinging fortunes and times (a madman actually calls it a time-machine) are characters by themselves. Every time he loses one, you can feel his angst. Losing one meant losing a month’s groceries.

Will Smith breathes life and spirit into the role, underplaying it with the right nuances, toning down the histrionics just a little to make it realistic. Watch him break down softly in the restroom, feeling helpless about letting his son sleep there, with people knocking the doors into the night. Simply fantastic.

The finest moment of the film arrives right at the end, the moment the director had kept us waiting for: Happyness. And that’s the moment Will Smith reserves his best for. His face takes you through the increasing levels of happiness in his ultimate moment of triumph. This is kind of stuff that brings cheer to the heart. The kind of stuff that should have won him an award.

If you want to know what happiness is all about, ‘The Pursuit…’ is a must-watch.

http://sudermovies.blogspot.com

B-A-C-K: Due to public demand

March 7, 2007 · by sudhishkamath

That Four Letter Word will return back to Studio 5, Sathyam Cinemas this weekend. A few days ago, I was so sure that not more than 20 people would actually wake up to watch TFLW so early on a weekend.

I was so wrong. We had a little over 50 per cent occupancy on Saturday morning. And then, over 80 per cent of the hall was full the very next morning.

Thank you Madras for waking up early on a Sunday and making it to the theatres just to watch the movie.

Due to public demand, we’re bringing the movie back at 11 a.m. just for all those of you who complained that 10.30 was too early. So all you guys who still haven’t got a chance to see the film, here are a coupla more chances. March 10th & 11 (Morning show @ 11 a.m.)

The advance bookings will open on Thursday and you can book online through that yellow banner on the sidebar towards your right. Since this is a digital film, for best results, do watch it from the back rows. I thank each and every one of you who have seen the film for your support.

If you didn’t like the film, I’m truly sorry I let you down. And all those who’ve seen it three times or more, I can’t thank you enough. I’m really touched that some of you have listed That Four Letter Word among your favourite films on Orkut. I’m not sure if it deserves a place there but thank you so very much for being kind.

B-A-C-K: Due to public demand!

March 7, 2007 · by sudhishkamath

That Four Letter Word will return back to Studio 5, Sathyam Cinemas this weekend. A few days ago, I was so sure that not more than 20 people would actually wake up to watch TFLW so early on a weekend. I was so wrong.

We had a little over 50 per cent occupancy on Saturday morning.

And then, over 80 per cent of the hall was full the very next morning.

Thank you Madras for waking up early on a Sunday and making it to the theatres just to watch the movie.

Due to public demand, we’re bringing the movie back at 11 a.m. just for all those of you who complained that 10.30 was too early.

So all you guys who still haven’t got a chance to see the film, here are a coupla more chances. March 10th & 11 (Morning show @ 11 a.m.) The advance bookings will open on Thursday and you can book online through that yellow banner on the sidebar towards your right. Since this is a digital film, for best results, do watch it from the back rows.

I thank each and every one of you who have seen the film for your support. If you didn’t like the film, I’m truly sorry I let you down. And all those who’ve seen it three times or more, I can’t thank you enough. I’m really touched that some of you have listed That Four Letter Word among your favourite films on Orkut. I’m not sure if it deserves a place there but thank you so very much for being kind.

Painting or Poster?

March 7, 2007 · by sudhishkamath

I was talking to one of my friends about how people perceive a film like That Four Letter Word.

Some end up reviewing it like it’s another mainstream movie or a Hollywood romantic comedy in the theatres. And, some take it so seriously and take it up as their subject of critique.

But thankfully, there have also been many who have seen it for what it really is.

Paintings and posters should never be compared by the same set of parameters.

Posters are designed for a purpose. To deliver a message to a mass. There’s a certain amount of slickness in production, boldface screamers, simple smart copy and colourful visuals with instant appeal, tailored to deliver the communication to a mass audience. Or, like most commercial cinema, it aims at giving you pleasure for the money you’ve paid. But being a whore filmmaker needs a certain amount of shamelessness.

Paintings, however, are just an expression of the artist. Almost like an extension of his thought-process and imagination. Or, like most art cinema, it aims at giving the creator all the pleasure. But, we all know that wankers do it only because they got no takers. So, Is TFLW a poster or a painting?

Neither. As a beginner, I do not have the skills required for a painting. And with my limited resources, I cannot afford the production values a poster requires.

So what is TFLW? The independent film That Four Letter Word, at best, works as a scrapbook.

A scrapbook that’s personal, random and straight from the heart. It has these sketches of characters, especially, those you would instantly identify among your friends. It tells you only as much as you need to know, as much as any comic book would tell you about its heroes. It does not say one of these characters is you. It only hints that you could be any of them or all of them at different points in your life. Each character epitomises and personifies one way to live your life.

That sort of generalisation was needed so that we could face off one approach with another. It is this generalisation that has worked with the lowest common denominator among the youth. And it is this generalisation that has made a coupla inexperienced critics call the film ‘shallow’.

At another level, this is a film on male bonding. And it is not about the girls and their lives.

The girls are just sub-plots and their role in the film is limited to their impact on the lives of the four central characters (Which is why all posters and publicity have more of the guys and less of the girls). The girls’ approach to life and backstory is explained in the comic book right at the beginning of the film. That’s all you need to know about them.

In fact, a lot of women have been able to identify with the way the guys live their lives. Because, like Vishal, they sometimes wear their heart on the sleeve. Like Prashant, sometimes they have a head on their shoulder. Like Sunil, they have been confused. Like Zebra, they have sought escape through alcohol.

Like I explained to someone in the comments section of the ‘Nishabd’ review, we can only judge the depth or shallowness of a script depending on what the filmmaker is trying to say. If Varma wants us to understand the love story between a 60 year old man and 18 year old girl, he needs to show and tell us more than shaved legs.

He needs to give us a glimpse into the conversations that led to the unusual attraction. So what am I trying to say in my film? The only point I’m making through the film That Four Letter Word is that different people have different approaches towards chasing their dreams.

We do not pass value judgements on whether you should be Vishal and listen to your heart all the time or that you should be Prashant and use your head all the time. We are just telling you that even if you are as confused as Sunil is in the film or as escapist as Zebra in the film, life has its ways of bringing you solutions.

All TFLW says, like Sunil often says in the film, is that God is just the scriptwriter. It is upto each one of us to do what we want with that script. We have to direct that script the way we want to do it. It is up to us whether we want to keep the sad scenes short or indulge in the fun scenes for a little longer. No matter how we direct that scene, we have no control over the new twist that the next morning brings with it. So if you are like Vishal, you might still end up becoming Prashant and if you are Prashant, you might end up becoming Vishal.

Watch the film with this perspective and you’ll know what I mean. We don’t have the answers. Life has them.

That Four Letter Word is about the people we know so very well. Ourselves.

Since the film is just a scrapbook intended to trigger memories of your days at the crossroads of life, I urge the bitter critics of the film to tell me what they think is missing from what they ought to know.

Because, honestly, that would really help me while scripting my next film, something that I have been doing off late. As I do that, I’m tempted to design a “poster”.

Painting or Poster?

March 6, 2007 · by sudhishkamath

I was talking to one of my friends about how people perceive a film like That Four Letter Word.

Some end up reviewing it like it’s another mainstream movie or a Hollywood romantic comedy in the theatres. And, some take it so seriously and take it up as their subject of critique. But thankfully, there have also been many who have seen it for what it really is.

Paintings and posters should never be compared by the same set of parameters.

Posters are designed for a purpose. To deliver a message to a mass. There’s a certain amount of slickness in production, boldface screamers, simple smart copy and colourful visuals with instant appeal, tailored to deliver the communication to a mass audience. Or, like most commercial cinema, it aims at giving you pleasure for the money you’ve paid. But being a whore filmmaker needs a certain amount of shamelessness.

Paintings, however, are just an expression of the artist. Almost like an extension of his thought-process and imagination. Or, like most art cinema, it aims at giving the creator all the pleasure. But, we all know that wankers do it only because they got no takers.

So, Is TFLW a poster or a painting?

Neither. As a beginner, I do not have the skills required for a painting.

And with my limited resources, I cannot afford the production values a poster requires.

So what is TFLW?

The independent film That Four Letter Word, at best, works as a scrapbook. A scrapbook that’s personal, random and straight from the heart. It has these sketches of characters, especially, those you would instantly identify among your friends. It tells you only as much as you need to know, as much as any comic book would tell you about its heroes.

It does not say one of these characters is you. It only hints that you could be any of them or all of them at different points in your life. Each character epitomises and personifies one way to live your life. That sort of generalisation was needed so that we could face off one approach with another. It is this generalisation that has worked with the lowest common denominator among the youth. And it is this generalisation that has made a coupla inexperienced critics call the film ‘shallow’.

At another level, this is a film on male bonding. And it is not about the girls and their lives. The girls are just sub-plots and their role in the film is limited to their impact on the lives of the four central characters (Which is why all posters and publicity have more of the guys and less of the girls). The girls’ approach to life and backstory is explained in the comic book right at the beginning of the film. That’s all you need to know about them. In fact, a lot of women have been able to identify with the way the guys live their lives. Because, like Vishal, they sometimes wear their heart on the sleeve. Like Prashant, sometimes they have a head on their shoulder. Like Sunil, they have been confused. Like Zebra, they have sought escape through alcohol.

Like I explained to someone in the comments section of the ‘Nishabd’ review, we can only judge the depth or shallowness of a script depending on what the filmmaker is trying to say. If Varma wants us to understand the love story between a 60 year old man and 18 year old girl, he needs to show and tell us more than shaved legs. He needs to give us a glimpse into the conversations that led to the unusual attraction.

So what am I trying to say in my film?

The only point I’m making through the film That Four Letter Word is that different people have different approaches towards chasing their dreams. We do not pass value judgements on whether you should be Vishal and listen to your heart all the time or that you should be Prashant and use your head all the time. We are just telling you that even if you are as confused as Sunil is in the film or as escapist as Zebra in the film, life has its ways of bringing you solutions.

All TFLW says, like Sunil often says in the film, is that God is just the scriptwriter. It is upto each one of us to do what we want with that script. We have to direct that script the way we want to do it. It is up to us whether we want to keep the sad scenes short or indulge in the fun scenes for a little longer. No matter how we direct that scene, we have no control over the new twist that the next morning brings with it. So if you are like Vishal, you might still end up becoming Prashant and if you are Prashant, you might end up becoming Vishal. Watch the film with this perspective and you’ll know what I mean.

We don’t have the answers. Life has them.

That Four Letter Word is about the people we know so very well. Ourselves.

Since the film is just a scrapbook intended to trigger memories of your days at the crossroads of life, I urge the bitter critics of the film to tell me what they think is missing from what they ought to know.

Because, honestly, that would really help me while scripting my next film, something that I have been doing off late. As I do that, I’m tempted to design a “poster”.

Ghostrider: Skeletor on a Motorcycle

March 4, 2007 · by sudhishkamath

There used to be a time when we were starved of entertainment, and waited eagerly to catch ‘Giant Robot’ on Doordarshan.

We didn’t care much for the quality of visual effects, logical reasoning or the corn-ball excuses needed for Johnny Socko to open his little watch and order: Giant Robot, come soon. Or remember ‘He Man and the Masters of the Universe’ fighting Skeletor?

Years later, we find ourselves watching Ghost Rider pretty much the same way. It needs large doses of willing suspension of disbelief. A normal hero who transforms into a blazing ghost-fighter riding a cruiser that also transforms into something that’s probably common mode of transport in Hell. You can’t help but remember He-Man here, only that Ghost Rider looks like Skeletor on a motorcycle.

Only that, today, we have a wide range of choice from reality shows to crossover cinema to spectacular epic films with zillion visual effects and there is pretty much no reason to watch Ghost Rider but for the child that in you that digs mindless action and comic-book visual effects.

Ghost Rider, at least visually, seems to be a faithful re-creation of the Marvel Comics superhero. And, Nicolas Cage coasts along comfortably in a black-leather biker suit and a stunt cruiser, in a role that he could have very well sleepwalked through. Or maybe he did. Eva Mendes, as his childhood sweetheart, provides the much-needed relief in a film dominated by ghosts spouting the silliest lines.

Given the cheesy lines, it might actually be a good idea to catch Ghost Rider in Tamil. Hitch a ride with Kaalabhairavan. Time-travel to the days we didn’t have satellite television.

http://sudermovies.blogspot.com

Review: Nishabd

March 2, 2007 · by sudhishkamath

Lolly & Pop

When the 60-year old hero looks towards the open door, out of which his 18-year old object of affection has just run out of after expressing her love, we are left with a pretty photograph of his wife in her prime, framed on the wall right beside that door.

A few scenes later, when the shocked wife shuts the door on him literally, the fallen hero stands in the corridor, halfway between a door that’s shut and another that’s open, with the girl anxiously waiting inside. If only the rest of ‘Nishabd’ was as subtle.

But for these two scenes of individual brilliance and maybe the final monologue, there is very little in ‘Nishabd’ that bears the stamp of the master filmmaker.

Not only does he make 18-year old Jiah wear very little, Ram Gopal Varma also tells us very little about what led to the unlikely romance in the first place. Yes, we know they spent a day out in the estates, pretty much like ‘The Bridges of Madison County’ and all, with photographer Vijay (Bachchan) finding reason to sing again, thanks to the arrival of his daughter’s friend Jiah (Jiah Khan).

There are things we must be told. Like, what was the first conversation the old man ever had with the girl who is his daughter’s age. It begins on an interesting premise, with what could also be a one-line self-explanatory excuse for having shot the film the way he did, Varma makes the photographer say: “It is not necessary that the rest of the world sees it through my perspective.”

Brilliant. But, moments after that first line of serious conversation they’ve ever had, Varma decides it’s not important to tell us what they spoke about next. He increases the background score and shows them talking. Lazy screenwriting or weak direction?

What we see more of is a skimpy Jiah getting wet endlessly, pouting like a Playboy pin-up with her index finger in her mouth, and sometimes, with a lolly, perhaps the perfect metaphor for the entire romance.

The kid can’t act for nuts and even if her accent that swings from American to Australian does not distract, her favourite catch-phrase does. “Take light” sounds more like tapori-speak from ‘Rangeela’ than something that a sophisticatedly rich, foreign-raised brat would say. But then, like any teen who knows her pavement shopping in Dharavi, she also sports a hand-bag with big block letters: L-O-V-E.

No doubt Jiah is a pretty photogenic bombshell, but there is a difference between making her look innocently sensuous and professionally raunchy. While Vijay’s own photographs bring out that innocence of a teen having fun with a hose-pipe, Varma’s own frames throughout the film seem pretty distracted by her anatomy. It’s also another thing if Varma’s intention was to tell us that it was lust and physical attraction that led the old man into grey territory.

But he insists it is that purer emotion called love.

Full credit to Amitabh Bachchan’s finely sensitive portrayal of that angst of falling for his daughter’s friend. But Varma lets him down drastically, using silly jokes borrowed from SMS forwards as ice-beakers between the couple. And the more important conversations consist of her stilted dialogue delivery followed by long pauses and predictable monosyllabic answers from Vijay. If he wants us to understand their predicament, Varma ought to tell us more. The intensity of the romance appears watered down by weak screenwriting. As a result, the entire episode comes out looking like an old-man hopelessly infatuated by a teen with a juvenile crush on him.

Equally annoying is Varma’s way of hammering down what is implied and understood as he makes Jiah ask Vijay: “Do you like my spirit?” or her telling her best friend “I don’t recognise boundaries” during a tiff over her metaphorical ‘foul’ play during a game of badminton or Jiah asking Vijay: “What is black and white at the same time?” and actually making her say it: “Nothing.” Yes, yes, we got it in the first place, it is not radio-drama, Mr.Varma.

Revathy stands dignified in an otherwise sketchily etched out film, Bachchan emotes with all his heart and Nasser lends a little maturity to a support role. The camerawork (Amit Roy), probably intentionally quirky and at times lucidly metaphorical, only distracts an already wandering narrative. Amar Mohile’s score haunts, thanks to Vishal’s melody of ‘Rozana’ – the only song finds no place in the film.

Somehow everything seems too rushed up and hurried with unrealised, pregnant potential.

Or maybe, we are reading too much from a shallow script that might have worked just right for a 10-minute short.

Nishabd: Sucks, this Lolly-Pop

March 2, 2007 · by sudhishkamath

When the 60-year old hero looks towards the open door, out of which his 18-year old object of affection has just run out of after expressing her love, we are left with a pretty photograph of his wife in her prime, framed on the wall right beside that door.

A few scenes later, when the shocked wife shuts the door on him literally, the fallen hero stands in the corridor, halfway between a door that’s shut and another that’s open, with the girl anxiously waiting inside. If only the rest of ‘Nishabd’ was as subtle.

But for these two scenes of individual brilliance and maybe the final monologue, there is very little in ‘Nishabd’ that bears the stamp of the master filmmaker.

Not only does he make 18-year old Jiah wear very little, Ram Gopal Varma also tells us very little about what led to the unlikely romance in the first place. Yes, we know they spent a day out in the estates, pretty much like ‘The Bridges of Madison County’ and all, with photographer Vijay (Bachchan) finding reason to sing again, thanks to the arrival of his daughter’s friend Jiah (Jiah Khan).

There are things we must be told. Like, what was the first conversation the old man ever had with the girl who is his daughter’s age. It begins on an interesting premise, with what could also be a one-line self-explanatory excuse for having shot the film the way he did, Varma makes the photographer say: “It is not necessary that the rest of the world sees it through my perspective.”

Brilliant. But, moments after that first line of serious conversation they’ve ever had, Varma decides it’s not important to tell us what they spoke about next. He increases the background score and shows them talking. Lazy screenwriting or weak direction?

What we see more of is a skimpy Jiah getting wet endlessly, pouting like a Playboy pin-up with her index finger in her mouth, and sometimes, with a lolly, perhaps the perfect metaphor for the entire romance.

No doubt Jiah is a pretty photogenic bombshell, but there is a difference between making her look innocently sensuous and professionally raunchy. While Vijay’s own photographs bring out that innocence of a teen having fun with a hose-pipe, Varma’s own frames throughout the film seem pretty distracted by her anatomy. It’s also another thing if Varma’s intention was to tell us that it was lust and physical attraction that led the old man into grey territory.

But he insists it is that pure emotion called love.

Full credit to Amitabh Bachchan’s finely sensitive portrayal of that angst of falling for his daughter’s friend. But Varma lets him down drastically, using silly jokes borrowed from SMS forwards as ice-beakers between the couple. If he wants us to understand their predicament, Varma ought to tell us more than what Bachchan can do with the depth of his eyes. The intensity of the romance appears watered down by weak screenwriting. As a result, the entire episode comes out looking like an old-man hopelessly infatuated by a teen with a crush on him.

Equally annoying is Varma’s way of hammering down what is implied and understood as he makes Jiah ask Vijay: “Do you like my spirit?” or her telling her best friend “I don’t recognise boundaries” during a tiff over her metaphorical ‘foul’ play during a game of badminton or Jiah asking Vijay: “What is black and white at the same time?” and actually making her say it: “Nothing.” Yes, yes, we got it in the first place, it is not radio-drama, Mr.Varma.

Revathy stands dignified in an otherwise sketchily etched out film, Bachchan emotes with all his heart and Nasser lends a little maturity to a support role. The camerawork (Amit Roy), probably intentionally quirky and at times lucidly metaphorical, only distracts an already wandering narrative. Amar Mohile’s score haunts, thanks to Vishal’s melody of ‘Rozana’ – the only song finds no place in the film.

Somehow everything seems too rushed up and hurried with unrealised, pregnant potential.

Or maybe, we are reading too much from a shallow script that might have worked just right for a 10-minute short.

http://sudermovies.blogspot.com

Honeymoon Travels: A delightful trip

March 1, 2007 · by sudhishkamath

Somewhere towards the end of ‘Honeymoon Travels Pvt Ltd.,’ an intoxicated Kay Kay Menon breaks into an improvised jig as the chartbuster of the song ‘Sajnaji Vari Vari’ sneaks into the proceedings and before you know it, one by one, all the characters in this ensemble join in to dance what will be known as Hindi cinema’s most spontaneous dance choreography. They characters are all on a high. And you just can’t wait to join the party.

That is the trip that ‘Honeymoon Travels’ is all about.

Bonding, love, caring, sharing and letting your hair down.

Everything else seems to be an excuse to get to that point in the story where six couples with different dynamics to their relationship discover each other and themselves in this sequel in spirit to ‘Saalam-E-Ishq.’

‘Saalam-E-Ishq,’ though episodic, was long-winded and conformist, sticking to the mandatory angst-ridden song before the final act (but then even Reema Kagti’s mentor and producer of ‘Honeymoon Travels,’ Farhan Akhtar, couldn’t do away with that in his own ‘Dil Chahta Hai’) whereas ‘Honeymoon Travels’ is far more simple, crisp and snappy, using quick flashbacks to give us the back-stories of the love stories in an unconventional narrative structure.

Reema only tells you what you need to know, leaving the rest to your imagination, playing her cards smartly all through her narrative laden with clever twists and cheeky turns. Though you can see some of these coming, the director still manages to keep you engaged in the stories by random, yet, fluid inter-cutting between the couples and their respective stories.

Amisha Patel finally makes her acting debut (Yes, we know she’s appeared in films before, pretending to do the job but failing miserably) as one of the film’s most vivid characters, Pinky. But it is Kay Kay Menon who once again surprises you with his range and energy, paired opposite an immensely likeable Raima Sen. Shabana Azmi and Boman Irani are reliably solid in their roles, playing it with the right sort of sensitivity and refreshing zest. Abhay and Minnisha are adorable as the perfect couple with a secret each. Sandhya Mridul’s track makes up for the overdose of feel-good in the film and the fine actress acquits herself without overdoing the histrionics. And trust Ranvir Shorey to breathe life into even the most single-dimensional of characters. He’s brilliant in a role cut short by the screenplay, paired opposite his reluctant bride Diya Mirza, looking pretty in a rather ‘filmy’ role that ironically challenges the very institution of marriage and the validity of a wedding.

Given how refreshing her story-telling is, Reema could’ve done away with the lecturing on love in the end, making Shabana Azmi deliver the message of the film in the middle of the road, to the driver, who probably represents the old-fashioned people who run the system. The new generation is on her side literally and the driver has little choice but to abide by democracy. “We have paid for these tickets. If you can’t drive, step aside. One of us will,” she says, emphasizing on the right of every individual to decide how to live his/her lives.

But for these minor quirks, ‘Honeymoon Travels’ is a refreshingly delightful trip exploring the complexity of human relationships with the disarming simplicity of everyday life. The mood is light all through and life is beautiful.

Just one word of caution. Don’t take any of the storytelling too seriously. And don’t take it at the surface-level either. If you find it difficult to accept the cinematic liberties taken, ask yourself this: Is there anything called a perfect couple or a couple that has never had one single fight? That should make you see the brilliance of the larger-than-life elements in the film.

Enjoy.

http://sudermovies.blogspot.com

The review I was waiting for…

March 1, 2007 · by sudhishkamath

Not because it says the movie is really good. It doesn’t.

Besides, we’ve had many other reviews where people’ve liked the film.

This review is special because it is honest and well, critical.

Baddy does not know this but I had a sleepless night before the press show wondering what he was going to say.

Because, it is criticism from people you respect that always matters. I’ve said this before on many occasions, he is the best in the business. Raja is murderously good but Baddy’s reviews are always more likeable given the down-to-earth tone he uses even while trashing a film.

I didn’t realise until someone (I think some disgruntled anonymous reader) pointed out recently that my reviews sound patronising. Point well taken.

So the morning of the press show, I went to bed at four and I just couldn’t sleep till 6.30 a.m. And I had to be up by seven again to go check the projector. You can quite imagine the anxiety when I landed up at the theatre to find out that the lip-sync was completely off. And, the picture quality was grainy. Thankfully, we were able to fix all of that before the commerical release.

Was he going to hate it? I had never been more nervous all my life. It was like my favourite teacher had just taken my answer-paper and he was going to grade it in the next 91 minutes.

If he failed me, I knew I had to go back to school and learn everything I learnt all over again. Because, he’s the teacher. He knows his stuff. He can’t be wrong. After the movie, when I was playing host to Vikram and attending to the NDTV crew, the only thing on my mind was what was Baddy going to say.

Vikram was obviously nice and said he loved the movie, just like Suriya had said it earlier. And I was never sure if they meant it because stars are polite to everybody. When Baddy came out of the hall smiling, it was a relief.

More when he said, “I had a good time. It was okay. What do you mean it’s a not bad film? It was really okay.”

He said he would talk to me about it at length. But, I wanted a progress report and see how many marks I got. I requested him if he can review it at leisure.

Within a week, he did. Thank you, Baddy.

This gives me the courage to start on my next film. We’re starting in May.

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