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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

Buncha jokers, absolutely!

December 16, 2005 · by sudhishkamath

My heart totally goes out to Ganguly.

This is no way to send off the most successful captain. His 40 and 39 weren’t great knocks, but they were pretty adequate given the batting position assigned to him, that requires him to drop anchor. He was only doing the job of a middle order batsman: To hang in there protecting the lower order from the bowlers and giving the batsman in form the charge.

I’m not exactly a Ganguly fan, though I did make a case for him earlier when he was sacked for inconsistency, saying that sport is played through emotions. It’s best enjoyed when you see players ruled by their heart having a blast. I hate to see an emotional side like India turn into a cold-hearted winning machine because a machine does not have a heart. It’s programmed. Sport aint about winning, it’s about character.

The sort of character Ganguly displayed when he removed his shirt … that was like him taking Flintoff’s pants off. The sort of character Venkatesh Prasad showed by striking timber after being hit for a six, showing the batsman the way back to the pavilion. The sort of character Courtney Walsh presented, without running the runner-out-of-his-crease out. The sort of character Dhoni demonstrated in his record innings of 183, blasting his way to the second highest score by an Indian… or Sehwag’s rule-breaking triple hundred or Lara’s batting flamboyance.

None of these unforgettable moments in sport were instances of classic science and applied formula. They were all feats of sportsmen playing their heart out.

The new team India is moving away from what has been the quintessential element of sport: Instinct.

The focus is on developing a standardised winning machine and importance of human and personal relationships seem to be taking a backseat.

People don’t seem to matter anymore. Nor does talent. It’s become like the military, where you train the soldier for war, standardise him, strip him of his individuality and make him wear the uniform that the coach wants him to. Incidentally, Chappell was raised in a military family.

Today, the team is a unit under command and players are kept on a leash. Players merely take orders from the boss/bosses. And cricket is becoming like a routine nine-to-five job with deadlines and targets. Players become soldiers on a mission to win.

So Pathan, with all due credit to his batting abilities, becomes the suicide bomber sent out right at the top order, Ganguly becomes an all-rounder, Dhoni is sent in at all possible slots, Yuvraj has a sword hanging over his head and Gambhir has coach Chappell’s hand over his.

The idea is flexibility, we hear. There lies the contradiction in the approach. Flexibility only makes for unpredictability, not for scientific strategising.

Though it might work for you initially, it’s just a matter of time before the opposition knows you’re gonna send a bowler in at No.3 or give Dhoni the ball at the bowler’s end. The shock value would ultimately wear out.

Also, let’s not forget that we’re just playing at home under favourable conditions. Flexibility here does not prove anything and on the contrary might prove to be misleading. Send in a pinch hitter at No.3 in South Africa or Australia and it might have disastrous results.

You cannot design a winning machine and a batting order that’s based on the same principle as lottery. Preparing your team for surprises is one thing and letting a player settle and specialise in a specific slot that suits his individual style is another. If you really wanted to play scientifically with a specialist for each position (as the selectors now pretend as they ask for a specialist opener), then you don’t mess around with the batting order under the pretext of flexibility.

The team management is doing well hiding behind the ‘Flexibility’ strategy, aided well with some promising batting by Pathan, Yuvraj and Dhoni but didn’t these guys always perform well, even when Ganguly was captain? Scrape the surface and you can see a team ruled by the whims and fancies of a megalomaniac coach.

A man who has the audacity to show the finger to the people of a country he’s come to serve (Can you imagine this happening in any other part of the world and the foreign national not losing his job?). A man with a grudge against the former captain. A man who knows to manipulate the clowns crowned as selectors — the failed cricketers who have their own scores to settle with the captain, their own agendas to push.

I don’t want to see Ganguly as captain again, now that Dravid is comfortably settled in the job and doing a pretty neat job of it but the least Indian cricket can offer its most successful captain is a decent exit. But there is a need to handle people with more sensitivity and understanding. Where is the happy Indian huddle?

Dravid is surely maturing into a fine captain, but I hate the coldness in his words when he says it’s a happy problem to choose between Yuvraj and Ganguly. Surely, that’s not how a captain backs his players. Pathan, Dhoni, Yuvraj and Dravid himself were all players Ganguly backed and stood behind: rock solid. True he has had problems with VVS Laxman but then again, Laxman hasn’t been the most consistent of batsmen either. (You can test that statement and compare his performance with Sourav’s own here.)

‘Divide and Rule’ has been one of the oldest strategies employed by the white man. Pity, we are falling for it all over again.

There’s something that’s pure and virginal about sport that is turning into a manufactured assembly-line ritual with military discipline. Now, it has become serious work.

All work and no play.

At this juncture, I find most apt, the words with which fictional sports agent Jerry Maguire signs off his mission statement — what his mentor Dicky Fox once told him: “The secret to this job is personal relationships.”

Apy days are here to stay!

December 16, 2005 · by sudhishkamath

I watched King Kong again last night and just loved it even more. And hated the sentimental portions just a little more. So those venturing to meet Kong, be warned of the mush quotient.

Meanwhile, the movie has opened to some deservingly fascinating reviews.

Rediff’s Raja Sen, who I met during IFFI, has the best I’ve read on the movie.

Samanth has turned in a neat review too. He seems to like the bonding between girl and ape.

If you head to Lazy’s site, you can see the pedestal he’s just put up for the big ape and his master resurrector.

Well, my own official review appeared today.

Considering that reviewers have been near unanimous about the movie, looks like the King is going to make your neighbourhood theatre his new home.

Thanks to Peter ‘Psycho ‘Jackson, King Kong rocks!

December 14, 2005 · by sudhishkamath

After watching King Kong, I can almost imagine Peter Jackson, many years ago, playing back a DVD of King Kong and then going on a destructive spree. He probably was taken to see a shrink soon after as his folks pulled a rug over his dark side.

I imagine so because ‘King Kong’ is the work of a child deprived of mischief. The way Peter Jackson unleashes the entire cast (including extras) from Jurassic Park, many others from The Lord of the Rings, other assorted creepy crawlies on a munch-fest apart from the big ape himself wrecking havoc running around the streets of Manhattan, you can spot the childish destructive streak in him: not only is he highly imaginative and violent, he seems to totally relish the chance to remake a cult monster movie into the ultimate monster movie and execute his unfulfilled fantasies.

The scene where the hairy hero rips apart T-Rex’s mouth with his bare hands and later toys around with the broken jaw with much delight is ample testimony to the above observation.
Peter Jackson’s King Kong first makes an appearance 70 minutes into the movie.

Till then, the director spends time making you believe its a movie about a filmmaker out to make his movie against the biggest odds, with a never-say-die attitude, almost making him likeable (blame Jack Black for that), as Adrien Brody plays a SRKish charmer-screenwriter who falls for the blonde, a product of last minute casting after just about everything goes wrong with the filmmaker’s wild project.

Though it makes very little difference to the proceedings, the first 70 minutes seem to have been written to take King Kong beyond the monster movie genre and stake a claim for a modern day classic with romance of Titanic proportions. Also the first 70 minutes is the only time the movie is pretty light-hearted after which things are no longer that funny, what with people getting eaten up every two minutes.

It works for a patient audience but King Kong fans might just get a little restless waiting for him THAT long.

Naomi Watts fits in perfectly as the actress who has very little to do apart from look hawt, run around trees screaming hard as monsters try to eat her, entertain Kong with juggling and look mooney-eyed into the beauty-struck beast’s eyes. Adrien Brody is cast well too for a neat role that, however, waters down to almost nothing. Kong himself looks sooo much alive, thanks to Andy Serkins, the guy who also did all the acting for LOTR’s Gollum.

With special effects that are mind-blowing to say the least, the dialogues don’t look that bad though they seem to be borrowed from a handy make-your-own-monster movie guide: “What in the name of God is that?” “Holy Christ” “Run” and a million other screams. Maybe its a waste of time to write lines for people being eaten up or chased by gluttony monsters. For a movie kids will surely watch, it has way too many people being munched and treated with contempt. Especially, the way Kong throws people, esp. women, around.

But there are also lines laced with classic Peter Jackson feel-good. Sample:

“There is a lot of mystery left in the world, waiting to be discovered,
all for the price of an entry ticket.”
or
“Defeat is always momentary.”

Otherwise, but for the fact that Jack Black is too likeable for a director who crosses over to wrong camp and the overdone bonding between the girl and the ape, the movie is a rollercoaster ride into heaven, hell and back, paying tributes to the classics old and new including Jurassic Park, Titanic, Mackennas Gold among many.

Peter Jackson might be psycho. But he is God of spectacle cinema.

These are just off-hand thoughts typed in a hurry. Read a more structured review in the paper on Friday.

I’m meeting him in 12 hours!

December 13, 2005 · by sudhishkamath


Goa Return: I got here before Fanoos!

December 9, 2005 · by sudhishkamath

After a 31 hour back breaking journey after the travel agent screwed me over by putting me on Mumbai-Chennai mail, I got back to the city during the lull before the storm.

Feels good to be back after nearly 20 days!

For those interested in snaps, I’ve uploaded my Goa-Mumbai pics here. Too lazy for captions now. Will do that if time permits.

Also, the He says, She says column has been updated.

Here’s the IFFI Goa coverage, just in case you missed reading:
1. IFFI Goa – Curtain Raiser
2. Reality Check: Indian cinema plagued by lack of scripts
3. New laws to deal with piracy: Jaipal Reddy
4. All of Goa is a carnival: IFFI begins
5. Crowds throng IFFI
6. Snapshots from IFFI: Goa diary
7. Golden Peacock goes to Iranian film as IFFI ends

There are a coupla more stories to be published. Will update them here once they appear.
And you can continue reading the Goa journal here, here, here, here and here. Or simply scroll down.

As you can see, I got working from the minute I got home! 😉

Episode 11: Women are ladies, Men are boys?

December 9, 2005 · by sudhishkamath

He says:

Men have always been simple people with simpler needs and basic instincts. (Thought bubble: Sharon Stone cross-legged pose *slurp slurp*)

Think about it. His evolution has been about simple discoveries: fire, food, land, etc. And basic inventions: bulb, burger, computer, etc.

And how did it all happen? Because he simply refused to grow up, he always kept the kid in him alive. The kid who never stopped asking questions, the kid always up to mischief, the kid who broke rules, defied convention. The kid who believed that the only truth was that he knew little. Though they might pretend it, men always know that they do not know it all.

Which is why men exhibit child-like excitement every time they discover something. They don’t lose touch with their innocence when they give in to impulse. They lie out of fear of losing what they really like. They fight for what they want and don’t stop at anything.

They do not want to be in control of everything. They do not want responsibility. They like to sit back and let women mother them.

Men know that for the sake of balance and maintaining equilibrium on the planet, it’s essential for them to let the heart rule. Because, women have taken sole proprietorship of using their head.

Besides, most women believe they know it all. They believe they are grown up, lady-like and take upon themselves the responsibility of raising a child as a mother or a man as his wife.

It’s almost like it is their purpose in life to manage their homes, their lives, their families and take upon themselves the responsibility and reputation of being “practical” and “mature”.

Women simply love to believe that they are in control of their life. They like to believe they are grown up.

So men simply let them believe so. Anything that makes her happy. Because unless she’s happy, how would he get his basic needs fulfilled?

She says:

Men just don’t grow up.

When they’re fifteen, attaching a tin to a cat’s tail is their idea of a sophisticated joke. When they’re in their twenties, they are convinced that water pistols even scores in ways debates cannot. When they’re in their thirties, they battle their children for play stations. Fifty? Sixty? Seventy? They still find gross sexist jokes hilarious. And at eighty, only a man will marry a twenty year old, and steadfastly believe that women are more attracted to wrinkles than yachts.

And then they wonder why women think they’re juvenile.

Why do women marry and date men older than them? Because men take so much longer to mature emotionally and intellectually. Date a man who’s twenty-five, and be prepared for bursts of kleptomania “because we thought it would be kind of funny if we stole that no parking sign,” random fist fights “oh yeah? You think your girlfriend is prettier than mine? Eat dirt,” and stupid spends, “Dude, I got, like, this totally cool new phone. Only, I can’t afford to eat for about a month now.”

So men invented fire? If women weren’t around to make use of the flames, they would have still been sniggering and pushing each other into the coals with `childlike excitement’. “Snort, snort, now it’s your turn to roast.” Luckily, their wives and girlfriends realised that the big, hairy thing in the fire needed to be replaced with real food, so dinner could be made.

Makes you wonder how far civilisation would have progressed without women.

Of course men like sitting back and letting women take charge. It makes their own lives so much easier. The thing is, women don’t mind taking over.

After all, women have allowed men to run the world till now. And just look at the mess their inner-children have created!

Sometimes, you just have to use your head.

Episode 10: What’s "one of the guys"?

December 9, 2005 · by sudhishkamath

She says:

If you have a sense of humour, you’re one of the guys.
If you don’t fall into a dead faint when you see a rat, you’re one of the guys.
If you like whooping it up on Saturday night with ‘the gang’, you’re one of the guys.

What’s with this ‘one of the guys’ nonsense anyway? It makes you wonder whether every man’s idea of the perfect girl involves visions in frilly pink who smile demurely — and that too only when there’s an exciting breakthrough, like Lakme coming up with a new lipstick colour — about three times a day. (The rest of the time, they are probably expected to look wide-eyed and virtuous). Girls who swoon delicately every time a frog croaks. Whose idea of a wild party involves Earl Grey tea and cucumber sandwiches spread with low fat butter.

I don’t know whether this is good news or bad, but sorry guys, women like this just don’t exist. And perhaps they never did. I, for one, can’t think of a single woman who’s the embodiment of all those dreadfully feminine ‘virtues’ that all of us are supposed to possess.
Because none of the women I know bake cakes and waft on a haze of vanilla all day. They just pick up their snazzy cell phones and order them.

None of them sit picturesquely and bat their eyelashes adoringly at the men, called in to wrestle with plumbing/ laptops/ cars. When they need to get something fixed, they either call a plumber/ geek friend/ mechanic, or pull out manuals and fix it themselves.

And none of them are “gentle, compassionate, introverted, submissive and yielding” — the terms commonly used to describe feminity. Honestly, think of the women you know, and try matching them with all those adjectives. (After you stop laughing, maybe you could drink a glass of water to cure your hiccups before you return to this column.)

The bottom line is, women, like men, are are a bunch of very different people. They don’t have a pack of similar virtues, and thank goodness for that. After all, where would you be without your women friends who slap you on the back and tell you not to be a wuss when you whine, and then tell you how to fix your ipod, and your life.

He says:

Yes, the lady wins this one. Hands down.
Of course she has a sense of humour to write whatever she did.
Because, the joke’s really working.
The floor’s sparkling clean. I’m just rolled on it laughing.

A friend of mine suggested a simple test: Make a list of different people who make you laugh. Oh, of course, there are so many women who do that.
But the point is, they don’t intend to. Which is why you laugh.
Call any girl a clown and she’ll frown.

Because, my friends, most women consider the word clown derogatory.
Tell a man that and he’s sure to laugh and say: “Guess what? You’re funny too.”
She’s also right when she says women don’t faint when they see rats. They just become one of them. Jumpy, hiding for cover, lest the frightful monster gobbles them up. Men consider it perfectly natural for rats to co-habit their eco-system and do remember that they are right at the top of the food chain.

And what’s a girl gang? Ooooh, I’m really scared now. Because, the girls are going to drink their guts out and fall over me on a Saturday night. Ha ha!
So what is this “one of the guys” thing men talk about?
Come on, you need to be among the guys to do that.

I could write a check-list of what we dream, lust and fantasise about all day and all night. But I just heard that the list would not be printable. Oh damn!

Men have simple tastes, they are colour blind, so they wouldn’t even notice if it’s a blue lipstick or a black one she’s wearing. So whoever said they like their ladies to be dainty in pink.
Men have basic instincts, let’s just say they are very very basic.

They can laugh at themselves, call themselves clowns, lech at every other woman and perfectly not feel guilty, catch a rat by its tail, get pissed drunk on a saturday night, sport a Salman Khan wardrobe every single day, hit on women shamelessly, make them laugh and be laughed at.
Now lady, if you can do this, you’re one of the guys too. Else, just snigger dismissively, saying: “Boys!”

Goa Journal: Days 11-13

December 3, 2005 · by sudhishkamath

One of my three pending stories on IFFI finally appeared today.

Will post the other two once they are published.
Meanwhile, quick update on films I’ve seen in the last three days.

1. Apaharan: An exciting premise ruined by poor casting, no one other than Nana Patekar seemed to have any idea of what they were doing in the film. Devgan was good, but this is a role that ought to have gone to someone more younger and vulnerable. And why would anyone want to watch Bipasha in salwar kameez? Result: A subject with explosive potential gets watered down in the trappings of mainstream commercial cinema.

2. Good morning to Dad (Bolivian): Absolutely brilliant in portraying change in attitude of a country towards Che and works wonderfully in deconstructing the myth of a hero given demi-god status. As the film goes back ten years at a time as each act unfolds, the director quite cleverly shows what went into shaping public attitude and the subtle transformation over a period of time.

3. Silver Salt (Brazilian): I have loved every single Brazilian film I’ve seen till now, starting from Celeste and Estrela. Like Celeste and Estrela, this one too is about the making of a film as it draws parallels betweens filmmaking and reality. There were some wonderful lines in the film, which I now forget because of the overdose of films here. But I strongly recommend this film, if at all you come across it.

4. Hasina (Kannada): This won Tara a National award and you can see why. Truly world-class cinema as Girish Kasarvalli brings to life characters that are as real as they get, while telling a story of an oppressed Muslim woman and her wait for justice. Only crib: Could’ve been tighter, especially the portions where the director tries to split the film into five acts with the five times of namaaz does during the day. By the time the fifth prayer comes up, you can feel the brakes on the film.

5. Tiny Snowflakes (Iran): Iranian films surely know how to make the simplest slices of life look so beautiful, moving and engaging on the big screen. And this one despite its very slow pace, captivates you with its imagery and honesty. As I think back, there was hardly any visible plot or conflict, but the cinema works, just to once again demonstrate the power of visuals.

6. Dubai Return (Hindi): Ah! Don’t films with great scripts made poorly disappoint you? Aditya Bhattacharya (the guy who made Raakh 17 years ago) teams up with a pretty talented ensemble and as actor Irrfan put it, the film does “have a lot of moments” indeed. But like a line in the film goes: “Raita achcha hai, lekin raita khana nahin hai.” (The salad is good, but it aint food right?)

Goa Journal: Days 5 to 10

November 30, 2005 · by sudhishkamath

He he! With the diminishing frequency of updates, I guess you guys already know that I’m not really finding too much time to update.

Me having an absolutely happy hippy time here working hard (ahem ahem) and chilling with buddies from Madras.

Since there’s so much to talk about and little time, I’ll just stick to highlights!

Movies:
1. Olga: Powerful, poetry in motion, Camila as Olga gives one of the best performances ever. Sure to win the competitive section. My money on Olga. It’s another thing that this studio film on the holocaust quite unfairly competes with independent films like Iqbal, made with a budget probably 1/100th of that of Olga.

2. Deewane Hue Paagal: Shame shame puppy shame. Steals shamelessly from There’s Something About Mary. This movie should have been kept farthest away from Goa instead of premiering it at a festival and tell the world what terrible copycats we are.

3. The Wind (Sri Lankan): Brilliantly simple film about the complexity of truth as seen by different characters in the film. Gritty realism and natural performances see it thru. Poor pace though.

4. Tulipany (Tulips, Polish): A very slow feel good movie about a bunch of friends young and old bonding over the homecoming of their veteran racer friend whose favourite car was stolen when he was away. How do they find or replace it? It’s terribly slow and I sat in the hall just cuz I saw Shreya (Thalaivar’s latesht heroine) walk in to the hall.

5. Kings and Queens (French): One moment, it’s super fun and another, it gets orey serious and tragic… But the two parallel lives of the characters one who seems to have lost it but knows to live it up and the other who seems to be lost in life and its intricacies make this a delightful watch… in the tradition of When Harry Met Sally and Hum Tum.

6. Angel’s Fall (Turkish): It was so slow that I walked out half way. Not my sensibility, so it would be wrong for me to review it.

7. The Hangman (English): Why was this film about a poor Indian hangman made in English. The language totally robs the film of its soul. Nevertheless, this is a pretty decent effort in telling the story of a hangman who wants his son to be a police officer. Only that life has other plans.

8. Parzania (English): Imagine if Mani Ratnam’s Bombay was made realistically… And the lost children are not found? Imagine that explosive premise with Gujarat riots as the backdrop… As seen from an outsider’s (American) point of view, the story of a neutral (Parsi) family caught in the middle of saffron-flavoured genocide. Absolutely gripping, moving tale with superlative performances by Naseer and Sarika… Only crib: Rahul Dholakia should’ve been made in Hindi but at least here, most characters speak convincingly natural Indian English. Apparently, he did not make it in Hindi because he never thought it would clear the censors. But it did!

9. Chandramukhi: Ha ha! Of course, whenever there is a thalaivar movie playing, it ought to be watched. Only that it was incredibly weird to watch it without any whistles, dances and subtitles that went: Crane fly fly, Hen fly fly, Myna fly fly… The kite will fly splendidly because it is superstar’s kite.

10. Antar Mahal (Bengali): Disturbing to say the least but it’s a must watch experience. The lesser said the better the watch. I have never ever seen actors like Jackie Shroff, Abhishek Bachchan, Soha Ali Khan and Roopa Ganguly acting in cinema of this genre … formerly known as “Art film.” I do wanna see more of Rituparna Ghosh after this.

11. Blue Umbrella (English/Hindi): This Ruskin Bond tale brought back memories of Malgudi Days. Such a simple story beautifully told. It’s so refreshing to see a movie made for kids with such a refined sensibility.

12. Iqbal: Since I’ve already reviewed this earlier in my blog, it’s enough to say I watched it for the fifth time and still did not get bored. One of the best Indian films ever, even outsmarting ‘Black’ in a lot of departments.

13. Oridam (Malayalam): It does not tell me anything new. It’s a story about the mental agony of a commercial sex worker. It’s too slow to strike a chord, dunno how it won a National award and many state awards. Maybe cuz its not bad really.

Recent Haunts:
1. Lunch with friends on a boat docked beside the venue. To make the experience even more delicious, it was on the house.

2. Dinner with buddies living in Candolim at a place called Taste of China. Out of this world, especially, the potato tossy (dunno how that’s spelt).

3. Dinner at Calangute beach with a candle-lit table set right next to the waves. Yes, imagine sitting back on the chair with the waves three feet away from kissing your feet and nothingness to stare into. Breezer in hand, Gobi Manchurian and the heaven above and paradise at your feet.

4. An evening at Anjuna sitting between 200 hippies, most of them from different parts of the world… Every second person there had a tattoo. With techno music and Goa trance playing as chillums were passed around, it was an experience of a lifetime. A huge monstrous son of a bitch bit me as I stepped on its tail accidentally. But since it bit me thru the jean and it was vaccinnated, I guess I’m safe. Or at least hope so. Washed it away with Dettol and continued chilling.

5. All of Goa is a haunt now since I hired a Red Avenger! Yay! So I just go around all by myself exploring Goa, doing about 30-40 kilometres a day.

Now, tell me, between all this and attending Shyam Benegal’s masters class and filing stories (another 3 stories are yet to be published) where do I have time to blog?

Goa Journal: Days 3 and 4

November 24, 2005 · by sudhishkamath

Three films I got to watch:
1. Swapner Din (Bengali, directed by Buddhdeb Dasgupta): A brilliant plot, a slow yet gripping narrative just a lil messed up towards the end. Wonderful interplay of real characters in real trouble, their dreams and contrasting realities. Only wish someone else but Rimii Sen did that role.
2. Kaal Purush (Bengali, directed by Buddhdeb Dasgupta): A much superior film by the same director, a film you will absolutely love if you have the patience for it. Without giving away much, I can say it combines elements from Sixth Sense, Beautiful Mind and American Beauty in a context which is rooted in the Indian mileu. Your heart goes out to the protagonist. Never has the story of a “loser” been more endearing and make you want to be one. Celebrate life in India, watch this movie. Starring Rahul Bose, Mithun Da, Sameera Reddy.
3. Perumazhakaalam (Malayalam, directed by Kamal): Yes, it is predictable from frame one. The slow pace makes you a lil more restless but guaranteed to have a tear roll down the cheek. A truly wonderful film. Kukunoor today told me that it was his top three films when he was a part of the national award jury. “And now that bloody film is my competition here,” he joked. Yes, it competes with Iqbal at IFFI with 12 other films. Agreed it is melodramatic at times, but isnt melodrama the quintessential element of Indian cinema?

Three feel-good moments:
1. Drooling at Amisha Patel who showed up in her lilac noodle straps and a transparent sari, at the conference today.
2. Finally meeting Nagesh Kukunoor in person yesterday. Had only chatted with him both the times I did interviews with him in Chennai. A truly wonderful down to earth person. And I met him again today.
3. Sitting by the sea at the Goa Mariott watching the party I from the outside.

Three random cribs:
1. No time to get outside the venues of the festival and explore Goa.
2. Dunno too many people here.
3. Transport. Im gonna have to rent out a bike. Hmpf!

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