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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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How To: Be instantly famous

July 13, 2011 · by sudhishkamath

1. Bite a dog. Like they say, it’s not news when dog bites man. It’s news when man bites dog. Just make sure you have the footage. Every news channel will want it. It should get a few hits on Youtube. Next thing you know, news channels flashing blurbs calling you the Dog-Biter of *Insert name of your hometown*, will want a byte from you. But beware of animal activists, and a bite from them. And also beware: Dogs bite back when attacked. The safer option is not to interpret it literally but do similar things. You could bite a cat. Or a rat. Or a porcupine, if you can. Basically, people should be able to identify you as the guy who, say, eats worms, for example.

2. Once you’re done exhausting biting pretty much every animal you can find and if it still does not make you famous, protest. Stand up for something. But first, understand the competition. Greenpeace protests industrial pollution, PETA protests animals in cages, Maneka Gandhi protests everything endangering animals, right-wing fundamentalists protest Western culture and there are various feminist groups protesting different kinds of moral police. So find something no one is protesting. Like beauty. You could fight for reservation for ugly people on TV and films. There are plenty of their tribe who will support you. But then again, your local film industry, or the porn film business, already have many ugly people employed. So you might want to protest that and demand reservation for good-looking people in those sectors.

3. If protest doesn’t work and nothing you do is good enough for news. Go buy a copy of the book of records. See what they have records for and try to beat at least one of it. There are records for RJing, DJing, Cooking, Drinking Beer at a stretch etc. There must be something you can do at a stretch without sleeping. Else find the record for sleeping and beat that. Or create a new area where there is no record recorded. Like can levitate for three days, eat five copies of the book of records in five minutes etc.

4. If even levitation does not work, nothing will. You need divine intervention. So claim that too. That God came in your sleep and appointed you as the President of the World. There are many people who blindly believe in God-men. You just need to find the virgin market that’s yet to be touched by existing God-men. Try social networks and build an active e-presence, a website could be an e-temple for yourself full of testimonials from your devotees who are grateful to you for the change you brought to their lives. It takes less than an hour to make up a dozen testimonials. If you have the money, put posters all over town and double up as spiritual and political leader.

5. Okay, so nothing works. You are no good, nobody believes your lies and you have no skill or money. Learn from the kids from that new movie in town. Do the “chaddi march” all over town for no reason. It builds intrigue. “We don’t know why and he’s not saying why but he’s walking all around town in just an underwear.” You may have to take it off if someone beats you to it and continue the march! That should make you instantly famous.  But remember, we didn’t say “Without getting arrested.”

(The author is currently attempting to levitate. If it fails, he is threatening to pursue Step 5. This column originally appeared here.)

Interview: In the Nik of Time

July 11, 2011 · by sudhishkamath

A retweet on Twitter can ignite a revolution. A Facebook page can fan the fury further. And blogs, videos and news stories can go viral in a jiffy and challenge organisations, structures and even governments. Nik Gowing, the main presenter of BBC World News, was in Chennai to give an overview of his paper ‘Skyful of Lies and Black Swans’ that explores the new tyranny of shifting information power in crises. Excerpts from an exclusive interview with the TV legend.

Q: In a fragmented society like India where everyone’s focusing on their specific interests, largely sport, entertainment and occasionally politics (that differs from state to state) and discovering only information relevant to them in the context of filter bubbles generated by algorithms of search engines in every platform of the internet – including social media – resulting in a world that is consuming customised information, how relevant is your paper on social media actually having an impact on structures, organisations and governments when the corporations that control the internet have covertly launched a ‘Divide and rule’ policy?

A: No one can really define what social media is. It’s about the media space, the public information space in my view, with the proliferation of digital content, whether it be online, whether it be linear, whether it’s blogs or tweets, it’s about the vast number of contributions being made is enriching the perception of what’s taking place. It’s giving us a 360 degree three dimensional view of what’s taking place. Views that would’ve probably not been heard in the past are now out there contributing to the democratization of the information space. The information space, in my view, is being turned on its head because that machine in your pocket in many ways can challenge a big corporation or a big government. What it sees, while you are recording it, what it captures on video, what it captures on sound can have a serial impact on those who assumed they knew everything. F3 is not the same here, it’s in the time of crisis. Technology and digital content it’s creating in the hands of everyone is an empowering experience. And I think it’s great for journalism as well. It’s also intimidating for journalism because journalists need to make sure they are right now as opposed to getting away with interesting interpretations sometimes. It makes you ask questions… When a journalist has had an exclusive in the past, particularly in the old days of telex machines and the difficulties of getting the copy out within maybe days, how accurate they really were because no one else was there to challenge them.

Q: The corporates have been quick to react to this changing world. But do you think the governments today really care, especially in the Indian context?

A: My impression is that they are reluctant to embrace this new reality. But to be fair I was invited by the MEA to a conference on public diplomacy back in early December and I spoke there. And I think the mountain is moving. Some of the things I said at the conference about the role of Twitter and Facebook, they have embraced.

Q: The huge support for Anna Hazare and his anti corruption movement flared up by social media would have further reiterated your point.

A: That’s one classic example that I am now using. The fact that Anna Hazare, a 72 year old Gandhiite went on a hunger-strike and the fact that he mobilised five million people and the fact that within 96 hours, the government accepted the need for the commission indicates just how powerful the viral digital campaigns can become.

Q: There was also criticism in a section of the media that Anna Hazare’s supporters themselves probably had little clue about the specifics of the Lokpal Bill and its possible implications. Since opinion leaders on social media are not journalists and often don’t have their facts right, do you think they will be taken seriously in the long run?

A: No. Each of them have a vote. They have phones because they need to know what’s going on and that’s because of the mobilization of information. Whether you are in a village in India or China or England, I can tell you there are places where Twitter has revolutionised the community. Because, suddenly someone tweets saying that apples have arrived or fresh milk has arrived at the local store… Communities are becoming more active. What the Anna Hazare case as with many other places – in Syria, in Libya, in Tunisia, in Egypt, or BP or British Airports Authority or TEPCO in Japan – has shown the power of instant information to challenge those in positions of power. The revolution in Egypt took less than two weeks. Anna Hazare took 96 hours. In the old days, it might have taken several months to mobilize support. He might have died in 21 days and he might have had just a few hundred people with him. But there were five million people who were part of a digital campaign. That’s the message for politicians.

Q: But where do you draw the line between cyber-hooliganism and activism? Even after the judge said that Maria Susairaj could walk free since she had spent three years in jail for destroying evidence in a murder case, people are enraged and screaming for her blood on social networks.

A: I wouldn’t call it cyber-hooliganism. I would call it empowerment. What people are saying over a drink, or over their dinner table, or in their workplaces is now becoming viral in the digital space.

Q: Does it become right because a lot of people feel that way?

A: I’m not suggesting it’s right or wrong. What I’m saying is that it shows the mobilization possible whether it is those kind of cases or Anna Hazare. I don’t think technology can be controlled. These are complex times. Remember, yesterday, Obama died on Twitter. So, who believes Twitter? We could not get away by putting on BBC much of what appears on Twitter. It’s gossip. It’s unsubstantiated and as yesterday proves, it could be wrong.

Q: You call it empowerment but what if the majority is wrong? Isn’t there a flip side to what we cannot control, especially with gossip?

A: Of course, there’s a danger if the majority is wrong but life is like that. Not everything is right. It’s our job as journalists to make sure that what we report is right. What you are talking about is the phenomenon of modern digital technology, the pluses and the negatives. It is a negative but the death of Obama yesterday, it’s our job to make sure that what we report is right. As a journalist I would ask the same question too but I think you are exaggerating one side of the coin. Yes, there are negatives to everything in life. It’s the greatest time in journalism because of the instant nature of information mobilisation. It’s become a richer profession. It means we have to be even tougher on what we report and how we report.

Q: Most newspapers around the world used quotes from the Abbotabad tweeter who happened to be live-tweeting the Osama raid though he was two kilometres away from the incident. What could he have seen? All he knew was that there were helicopters in the area.

A: The Obama administration had full operational control. Four helicopters, 79 personnel and they were watching the whole thing. They thought they had full control of the information state but they didn’t. Because there was a tweeter, a real time interpreter of what was going on.

(An edited version of this interview appeared here.)

Murder 2: Robbery and murder

July 10, 2011 · by sudhishkamath

Cast: Thriller

Director: Mohit Suri

Cast: Emraan Hashmi, Prashanth Narayanan, Jacqueline Fernandez

Storyline: When a call girl goes missing, a crooked ex-cop goes in search to save her from a cross-dressing serial killer.

Bottomline: Korean film The Chaser ripped-off, butchered and Murdered.

Imagine the level of creative impotence when one of the best films of last decade – Na Hong-Jin’s 2008 debut thriller, The Chaser – is blatantly ripped off almost scene by scene and is still unable to stir a single emotion. Except maybe hate for the makers.

In the original and this rip-off, the serial killer, frustrated with his inability, tortures and butchers his victims. The same can be said of Mahesh Bhatt’s banner that has been serially mutilating some of the best films made.

At best, Murder 2 is a showreel for the talented Prashant Narayanan, a men’s room glossy featuring the saucy Jacqueline Fernandez and just another day on the job for serial kisser Emraan Hashmi.

If Murder at least tried to be Unfaithful, Murder 2 is very faithful to the original, from the beginning to end, diverting only to show us Jacqueline make out with Hashmi in the song breaks and sometimes, to conform to the Bollywood rule book.

How can a pimp be a hero and the prostitute the heroine in a Bollywood film? So, Hashmi does not play the pimp. He’s the guy hired by the pimp (in the original, the pimp is the ex-cop who goes in search of the missing girl). And the girl is not a regular prostitute, she’s a college student on her first assignment to send money to her widowed mother and pay for her sister’s tuition as Hindi film tradition demands.  And Jacqueline supposedly plays a model. So it is a little weird that Hashmi offers to pay her every time they go to bed. Even more weird that she loves him despite it. Also, how can a villain be just impotent in a Bollywood film? So, in an attempt to make him scary and dangerous, the makers make him a cross-dresser. Whoa! Talk about regression. Putting generous doses of kissing and sex alone do not make your films bold and progressive. On the contrary, a little sensitivity towards the LGBTs would be appreciated in these times.

This serial kisser chasing serial killer tale offers nothing but titillation from Yana Gupta and Jacqueline Fernandez for the front-bencher. There’s plenty of blood and gore but most of it flows from the ripped out heart of The Chaser.

Dear makers, there are more honourable ways to make a living than robbery. And Murder.

(This review originally appeared here.)

Delhi Belly: When life hits the bottom

July 3, 2011 · by sudhishkamath

Genre: Comedy

Director: Abhinay Deo

Cast: Imran Khan, Kunaal Roy Kapoor, Vir Das, Shenaz Treasury, Vijay Raaz, Poorna Jagannathan

Storyline: Three roommates are on the run from gangsters after having a particularly bad day when a package of diamonds gets swapped with a sample of stool

Bottomline: The film is like what causes the titular condition. Unhealthy yet inviting street food not necessarily in good taste.

As the opening credits roll out leisurely to the tune of Saigal Blues, there’s a cheeky mid-shot of a fat guy’s partially exposed lower back (as Mr. Chow says in the Hangover: It’s funny because he’s fat). We are shown this visual at least thrice just in case we miss the obvious wisecrack there. It’s the “hero introduction shot” to not-so-subtly let you know where most of the jokes in this frat-house film would come from.

Thankfully, though that is sort of true, there’s more to this film than just toilet-humour.

Not entirely mindless, ‘it’ from the film’s tagline, happens as a metaphor for a particularly bad day. It’s because you got “it” from something you did unwittingly. While the fat guy Nitin (Kunaal Roy Kapoor, simply the best thing in the film) gets ‘it’ literally from eating Tandoori Chicken by the street-stall, Tashi (a new improved thick-stubbled Imran Khan) gets into ‘it’ when his girlfriend Sonia (evergreen Shenaz Treasury) springs a surprise engagement on him and Arup (finely restrained Vir Das) goes through ‘it’ when he is stood up and subsequently dumped by his girlfriend. Not the perfect day to lose a package of diamonds that gun-toting gangsters led by Somayajulu (Vijay Raaz puts the sin in sinister) are looking for. And surely not the place to be in once you’ve sent him a sample of stool instead unwittingly.

That’s all you need to know about the plot because it’s really just an excuse to let out all that’s been repressed in Bollywood for decades together.

So when it proverbially hits the fan and brings the roof down and we see the shocked expression on the faces of the elite kathak-trained prudes from the floor above – a room that has its walls lined up with photo frames of Gods. That’s probably the reaction you will get from your older uncles and aunts because as one of the guys tell us right at the beginning, nothing is sacred here (we are specifically told this when photographer Nitin puts a flower on the ear of a corpse for fun when on assignment).

The problem when you are watching a smart film is that you expect it to be smart throughout unlike say, a stupidly inane Dhamaal or an asinine Ready. Delhi Belly isn’t able to stay consistent in tone though it makes up for it by keeping the laughs coming.

What’s not consistent?

One, though Hinglish seems like a smart choice of language between three Delhi-based yuppies, when the uncouth gangsters enter the scene, the English-Hindi-Hinglish jumps seem obvious.

Two, profanity, by itself, isn’t humour. Wicked application of it is. While associate director and writer Akshat Verma (easily one of the best discoveries of the year) tucks some of it in smartly between jokes, some of it seems used for effect rather than need.

Three, lack of depth in characterisation. Of the three central characters, the cartoonist Arup (Vir Das) gets a raw deal because his love story is too undercooked for us to care enough for him or understand his random need for a tonsured head while some like Menaka (Poorna Jagannathan) are just so well-defined in spite of her limited presence in the film. As a result of this uneven mishmash, Delhi Belly remains a few notches below the subversive comic classic it could have been. There are many fine touches that lend themselves brilliantly to a comic book adaptation. But surely, this is a film that’s destined for cult status with the youth simply because they haven’t seen anything like this out of Bollywood, however derived it is from Messrs. Farelly Brothers, Todd Phillips or Quentin Tarantino.

Oral sex is not just spoken about but also shown as a matter of fact. There are shots of arousal – both human and canine – used for comic relief. Many words, some expletive and some just explicit, never uttered on screen before make their entry into Hindi cinema parlance. Music is used creatively as a part of the narrative and not just as an excuse to choreography the most successful song in the album (Bhaag DK Bose just appears as a part of the score). And like Dhobi Ghat, there’s no interval here either. So, there’s plenty to party about. After all, Bollywood just turned old enough to check into a frat house.

(This review originally appeared here)

Bbuddah Hoga Tera Baap: Fanboy Bachchanalia

July 3, 2011 · by sudhishkamath

Genre: Action

Director: Puri Jagannadh

Cast: Amitabh Bachchan, Hema Malini, Sonu Sood, Sonal Chauhan, Raveena Tandon, Prakash Raj

Storyline: A retired gangster comes back to his old hunting grounds on a mission

Bottomline: B-movie with a heart that works because of nostalgia and the Bachchan-Dreamgirl chemistry. Strictly for fans only

Imagine if some Hongkong-based hotshot director who makes martial arts movies for a living, one day, decides to make a Clint Eastwood tribute with good old Clint himself and ends up making one steeped in Schezwan sauce instead of Salsa and noodles instead of spaghetti just because they seem to look the same! An Eastern interpretation of the Western International phenomenon.

Bbuddah Hoga Tera Baap is a lot like that. A Southern interpretation of a Northern National phenomenon. Distinctly South Indian in its sensibility and tone, Puri Jagannadh’s film thinks it has brought back the Chora Ganga Kinaarewala back to the big screen. Has it really? No and yes.

Though it must be said that hardcore Bachchan fans, like yours truly, should book their tickets right away to just watch the Go Meera Go medley featuring a remix of Bachchan’s Greatest Hits without reading any further.

In fact, throughout the first half, despite Bachchan’s presence, you feel like you are watching a Tamil or a Telugu film from the over the top glares given by stuntmen and of course, the choice of villain – Prakash Raj. Equally cheesy are the looks of awe on everyone’s face as he shows off his sharp shooting skills. Also, though it does remind you of a recent Suriya starrer in terms of it’s father-son/assassin-target plot, the knot here is just an excuse to unleash Big B’s larger than life persona through punch-lines and hero-worship. Whichever way you look at it, this is strictly a B-movie made for fans.

Puri overdoes his fanboy adulation quite a bit so much that he does not know when to stop repeating himself. His Viju (Bachchan) seems to get provoked and angry every time someone calls him a Bbuddah and each occasion turns into an excuse for him to say the film’s title just in case we forget what the film is called.

And there are needless unflattering long shots in slow motion that reveal age. Isn’t it the film’s core objective to show us that age hasn’t really taken a toll on what he can do? And though Bachchan is in top form, commands a presence and even shakes a leg with commendable agility, Puri lets quite a bit of unwanted flab get in the way of the film’s narrative. Throughout, Viju does nothing but walk around getting offended on being called old and flirts with women, young and old, when the villain seems to be in a tearing hurry to eliminate the honest cop ACP Karan (Viju’s own son).

Sonu Sood is cast so perfectly as the son that in the early portions of the film, you would be forgiven to mistake him for a younger Vijay in police uniform. While Raveena in a cameo looks ravishing though silly, it is Hema Malini who really works up the magic and brings the much-needed Hindi fillum feel and her scenes with Bachchan are easily the best in the film.

Not just because they share a great chemistry but also because suddenly, the drama in the film seems more mature and is served up just right as Bbuddah finally finds its feet in the third act. Even if he’s just narrating a story borrowed from a popular email forward, Bachchan makes it his own and delivers it in his own inimitable style. The Action Jackson. The School of Cool, as the title song calls him.

Senior Bachchan simply owns the climax, be it the action scenes or the drama heavy last scene when he forces that tear down your cheek. Now, that’s more like the Bachchan we know. And miss.

(This review originally appeared here.)

How To: Be taken seriously

June 28, 2011 · by sudhishkamath

1. The first step towards being taken seriously by friends and strangers is to take yourself seriously. Sport your greys. If you don’t have any, dye your hair salt and pepper. Unless you are under 25. If you are under 25, nobody should take you seriously. Just so that you can do whatever the hell you want and say, “Dude, I’m young, don’t take me seriously.”  If you are over 25, do everything you do with a dead serious face. You need to consider yourself to be the most important person alive and the only person whose opinion matters. If you don’t believe it, nobody else will.

2. Speak less. Smiler lesser. The only time you must smile is out of condescension.  The more you talk, the more you expose yourself and the more you allow people to judge you. Keep to yourself as if everyone around is a lesser mortal and rather hang out with people in your league. On occasions that you speak or write or need to give a speech, make sure that the ratio of regular words to words-that-require-listener-to-refer-a-dictionary is 10:2. Always introduce yourself as a mysterious recluse who likes to keep to himself till it catches on lest they can see through your arrogance. Don’t add everyone on Facebook, let them add you. And accept very few. On Twitter, just follow a chosen few like Obama, CNN and one or two of
your famous friends who talk to you.

3. Never offer unsolicited advice. Give it at a premium, in terms of cash or at least, beer. And then, stamp your authority every time you are asked for opinion or advice. Authority could be in terms of your age, experience, exposure, qualification, awards won, positions held or once held. When you are speaking to those who don’t know you all that well, make sure you subtly talk about: “When I was…” and end with “That was a long time ago, anyway.” This shows that you not only
did something cool but also that you’ve been there and done that ages ago. Make sure you give out visiting cards with all your degrees and positions held to everyone who meets you.

4. You need a professionally shot photograph with a moderated smile. Too wide and you’ll look like an idiot. Too thin, you’ll look like a serial killer. Don’t make it too goofy, it needs to make you look intelligent. This picture must go with any articles your friends in the media can do on you. Else, use that as the header on your blog.

5. Always ensure that your wisdom can be defended by actions of Gods in mythological epics or by great thinkers and philosophers. Do you know about the man who built a management school by re-interpreting managing principles from the Mahabharatha and sued anyone who called it shady? Learn from him, don’t allow people to talk trash about you. Sue the hell out of them. Freedom of expression is overrated.

(The author owns this blog. Look at the picture on the header and judge for yourself. This column originally appeared here.)

How To: Start a cult

June 7, 2011 · by sudhishkamath

1. It all begins with you. Your face and your name define the brand.  First, take a good look at yourself into the mirror. Or some form of freakish hair growth on your face or head that would make people take you seriously? A flowing beard is interpreted as a sign as wisdom. Also, it makes sure people don’t even get a good look at your face behind all that hair. Your name needs to command reverence. So prefix your name with an honorific like it was given to you at birth and suffix it with a Swami. For example, I would call myself Free Free Free Sudhishaswami if I want to propagate free thinking. People like free stuff. Plus, it’s catchy and marketable.

2. People need to be able to relate to your philosophy. It needs to be explained in a few words, preferably in half a sentence and want to do it. If you want to appeal to the youth, think of things they want to do. For example, Joy of Loving. Ideally, make it a free course to compete with all the paid programmes in the market. Add trademarks for all your programmes so that people take it seriously.

3. State the obvious or even stuff that may not make sense with the most peaceful calm face you can keep. The key to it all is the confidence and the calm you state it with. Try some of this for starters: There is no spoon. There is no free laundry. There is a shortcut but the bus will not stop there. You are the autorickshaw and I am your driver. A hungry man needs food. A book must be read. And so on. Make sure all of this is printed as a book. After ten years and once you’ve sold about a hundred copies through Facebook friends and family, you can call it a bestseller. Cults take time to catch on.

4. All are not welcome. Make it exclusive. Even if there’s not a single person enrolled in your cult, no one will know because it’s an exclusive group, a highly secret society whose practices will not be spoken about to outsiders. Like Fight Club. Nothing gets people going than curiosity. So that once they are chosen, they feel like they’ve accomplished something many haven’t.  They will become your biggest ambassadors.

5. Make sure there are ashrams or centres for people to hang out, socialise and practice what you preach. Some form of meditation needs to be practiced. So close your eyes.  *Zzzzzz*

(The author is the founder of the Art of Loving. He has laid… well, only the foundation stone until now. This column originally appeared here.)

Interview: What have you got against Luv?

June 3, 2011 · by sudhishkamath

His film Pyaar Ka Punchnama has met with polarized reactions from the sexes. Most men love it and most women seem to hate it.

After garnering critical acclaim, the film picked up collections in the second week through word of mouth and is hailed as a cult film about relationships as seen through the male perspective. On the flip side, the filmmaker Luv Ranjan has been accused of being a misogynist by some.

He talks to Sudhish Kamath about the overwhelming response, the brickbats, the bouquets and the satisfaction of making a much-debated debut with six newcomers.

Q: Your film didn’t open really well but seems to have picked up?
A: It’s doing really well. The collections on Monday were better than the Friday it opened. And it steadied throughout the week and it’s dropped only by 24 per cent in the second week. It’s a huge hit in Punjab and doing well even in the smaller cities. Now getting into its third week, even with Ready set to release, we are doing above 60 per cent even on a weekday. There’s a huge repeat audience for the film as guys watch it together as a gang.

Q: You were mentioning this wasn’t technically your first script?
A: Yes, I had a script but the budget was higher to shoot that and I had to shoot in the Delhi winter. Time came when I realised that I would miss the winter deadline. Pyaar Ka Punchnama was a story idea I had earlier. Once I knew the winter film wasn’t happening, I worked on this script for two months. My only condition to the producer was that I will do it with new comers. The casting took six months and the music took seven months. So it wasn’t a film I made in a hurry.

Q: What was the central idea of what you wanted to do?
A: Basically, I wanted to make a comment on modern relationships. Not a serious comment but a tongue-in-cheek take on it. I found relationships to be very funny. So I wanted to show the funny side of it from the perspective of a man.

Q: Do you think it’s ok to show stereotypes of women in a genre that’s the anti-thesis of chick flicks infested with male stereotypes or are you saying that you haven’t shown stereotypes? You’ve been called a misogynist.
A: I don’t give a fuck! There are so many films that show men as cheaters. The problem is that in India, films have only shown one side of women. Just like there are bastards and there are nice guys, similarly in women there are nice women and the not so nice. Every heroine is the sati-savitri type and one who’s not is presented as a vamp. Why is Shashikala always the vamp and not the lead heroine? My next film is a romantic drama that explores the beauty and complexity of love in modern relationships. It’s not that every story I want to tell is anti-women. You take any Martin Scorsese film and see the portrayal of women in them. Is he a misogynist? Even politically, there are so many feminist groups that talk about women’s rights. But are there is domestic violence against men as well. Nobody talks about it because men feel ashamed to complain about being beaten up by women because there’s a social stigma attached to it. This is probably the first attempt to show men in a certain light and women is a certain light and some people are finding it a little difficult to accept. I am glad that it’s taken seriously and not just viewed as a light comedy film. I don’t want them to agree with me. I am a success if I start a debate.

Q: Your film is certainly more Woody Allen than Suneel Darshan who you started off assisting.
A: I assisted Suneel Darshan in 2003-2005 in three films – Barsaat, Mere Jeevan Saathi and Dosti… all hardcore commercial films. Sanjay Bhansali was Vidhu Vinod Chopra’s assistant. You only learn the craft from them, the art is all yours. Since I’m a newcomer and am expected to mention someone as an influence, I have to name Woody. The way he is able to look at relationships in a cynical but funny way. But I am my own filmmaker. I spent three months in the New York Film Academy to brush up my writing skills, traveled around the world – London, US, Chennai – just writing. I spent two years writing a film that I designed completely but I don’t have the tendency to pitch to many producers or studios because it ruins the equation. I like to shoot films my way even if it’s going to take time. You have to be patient to do that. I will always be possessive about creative independence, why is why I can’t work with stars. I don’t even let actors come to the monitor and see the shot.

Q: You found Kartik, one of your leads, on Facebook.
A: Yes, I found Kartik through Facebook and he was so nervous getting photographed that when the producers saw him, they thought he wouldn’t be right. A month later, I called my stylist and showed the producer the pictures. He liked him this time without even knowing it was the same boy. I then did a four-month workshop with him. He also did acting and dance classes.

Q: How did you arrive on your five-minute monologue that seems to be a hit with the audience?
A: The scene was that this guy Chaudhary had to ask the other what’s he fighting with his girlfriend for? When I started writing what the problem was, I couldn’t stop. When I completed, I realised it was four pages. It flowed well and I thought we haven’t even seen a monologue like this, so let me shoot it in one shot. It will send across the frustration of the boy in a humourous way. It wasn’t planned that way.

Q: You had some disagreements with your publicists?
When we started promotions of the film, I had to fight with the producers and publicists that I do NOT want to put any shot of kissing in the trailer. I said I will not put in the bikini shots in the trailer. Even an Anurag Kashyap today feels the need to promote Shaitan with a kiss between two girls. I don’t want to support that trend. In fact of not getting an opening, my film has worked purely on merit. This is a message that needs to go out. You don’t need sex and controversy when your film has merit.

Q: Started work on the other film you wrote?
I’m still working on the PR for this film and will start with the next in the next two weeks. Have tentatively called it Saathi. I like to design the whole film including the music. I have written all but one song in PKP and also composed Kutta.

Pyaar Ka Punchnama: Punch Drunk Love

May 21, 2011 · by sudhishkamath

Genre: Drama

Director: Luv Ranjan

Cast: Kartikeya Tiwari, Raayo Bhakirta, Divyendu Sharma, Nushrat, Sonalli, Ishita

Storyline: Three guys deal with the bittersweet pangs of love

Bottomline: No matter how cool, strong or smart, every man is fool in love 

When she says she’s leaving him, our hero falls in her lap and cries helplessly, like a child that does not want his mother to leave on the first day of school. He has no words, just helpless resignation and shameless tears. She’s broken him down good. She knows exactly what buttons to hit to reduce the most self-respecting man to a submissive child stripped of all ego.

It’s very rare to see an Indian film show this side of the modern woman and more importantly, this aspect of the modern man. The image of the macho hero is broken and shattered to bits, thanks to Luv Ranjan’s heartwarming bittersweet tale of buddies, bonding and girl trouble.

Be warned, this is not a date movie. Far from it. In fact, taking your girlfriend to this film guarantees a fight unless she can deal with what goes on in a guy’s mind. Pyaar Ka Punchnama is a film that’s straight from a heart that you never knew existed in men and it’s likely to be celebrated as a cult film for its depiction of man as the weaker sex, struggling to understand the complex creatures that women are and failing to cope with the pangs of living with them.

The Hollywood celebration of this vulnerability has resulted in some truly memorable films of all time. From Billy Wilder’s The Apartment in the sixties to Woody Allen’s Annie Hall in the seventies to Cameron Crowe’s Say Anything of the eighties or Nick Hornby’s High Fidelity in the nineties, all the way to the recent 500 Days of Summer, the hopeless romantic is a timeless type.

What’s refreshing in Pyaar Ka Punchnama is that director Luv Ranjan decides to tell us the story of not just one but three seemingly different men in three different kinds of relationships with a purposeful sense of capturing the larger truth about women and relationships. Rajat (Kartik), Choudhary (Raayo) and Liquid (Divyendu) are best buddies who fall in love with three girls with varying attitudes towards commitment. Rajat’s girlfriend is committed, Choudhary’s fling does not understand commitment while Liquid’s “just-friend” does not even acknowledge let alone accept their bond.

Never has so much relationship gyaan been pumped into one film and this is clearly the When Harry met Sally of our modern cinema. Sample the six minute long single shot monologue where Rajat lets out all the pent up angst after a fight with his girlfriend. Understandably, the audience in the hall was in splits for the entire duration of that rant because someone there on screen said out loud what not many men wouldn’t find words to articulate. A fantastic thesis on the behavioural patterns of the woman during an argument.

It’s interesting that the girls go beyond stereotype. They aren’t just evil, plain cunning or opportunists as films in this genre often turn out to be. They are real people who want love too and know to get it from exactly who they want and when they want. They can bring you extreme happiness, joy and shower you with love but are totally capable of hitting the demolish button at their will and fancy.

If the highly selfish, larger than life, rich kids from Dil Chahta Hai set the mood and tone for the youth over the last decade, the more relatable guys next door from Pyaar Ka Punchnama manage to do the same for this generation without commanding any of the star appeal and hype that the Khans brought to the Farhan Akhtar film. And that is testimony to the quality of writing and acting of this ensemble.

It would be unfair to call this a coming of age comedy. It’s an utterly romantic bromance that takes a candid look at relationships and that wretched thing called love. Luv Ranjan, clearly the debut filmmaker of the year, has an uncompromising vision and confidence to switch from laugh out loud comedy to indulgent drama to angst-ridden rock and even paces it as unevenly as life itself, something that may not go down well with those looking for just laughs.

But, Guys, if you will watch only one movie this year, this is it. Girls, if you have ever wondered what goes on in the mind of every guy, this is it.

Sometimes, the baby. Sometimes, the substitute and sometimes, the dog. Such is the life of man.

This review originally appeared here.

Stanley Ka Dabba: The food of love

May 15, 2011 · by sudhishkamath

Genre: Drama

Director: Amole Gupte

Cast: Partho, Numaan Sheikh, Abhishek Reddy, Divya Dutta, Amole Gupte, Raj Zutshi

Storyline: A boy who never brings his lunch box to school needs to figure out a way to cope with the increasing pressure of academics and a teacher who wants his lunch.

Bottomline: A heartwarming take on the pangs of childhood that chokes you in small doses all through.

The Dabba is a metaphor really. And food is what makes their world goes round. Every day, during lunch hour, children open up their dabbas to each other and share a bit of that homemade love. Lunch hour at school could be a defining social leveller, a melting pot in a country of different tastes, cultures and social backgrounds.

Stanley, the spirited protagonist, has a bunch of great buddies as his support system, a caring English teacher who he has a crush on, a never-say-die drive to learn and oodles of talent. When it comes to intelligence, he’s the anti-thesis to the dyslexic Ishaan (Darsheel Safari) in Amole Gupte’s first script, ‘Taare Zameen Par’ (He was also the director of that film before Aamir Khan took over the project and Gupte was credited as Creative Director). Stanley is tougher than Ishaan. And smarter. In his own way though, not always conforming to the system.

The film is our window to his world and to many like him. And we watch him closely from a distance as the camera lingers on the children at their most candid behaviour. Never has innocence between captured like this before and Amole Gupte hits the bull’s eye in getting a pitch-perfect natural and realistic performance from his entire ensemble cast that is filled with fresh young faces, led by Partho (Gupte’s son who plays the titular Stanley).

It’s refreshing to see a film that employs love or food as the currency for every day life. Kids are sent to school with food, rewarded with chocolates and even taxed by a teacher in denominations of food. Because, that’s how it used to be. No money? No problem. Your friend would have it. No lunch? No problem. Eat from your friend’s dabba. But guess who wants a share of that love? The Despicable Me-Hindi teacher, nicknamed Khadoos by the kids, wants to eat their lunch. Devoid of love in his life, hated by all, the miserly and greedy teacher (played by Gupte himself) makes life difficult for Stanley because the boy does not bring his own lunch. His parents are away.

The English teacher, Rosy Miss, on the other hand, rewards the kids with chocolates every time she’s impressed with their home-work.  Stanley always manages to impress her. The Science teacher, Ms. Iyer, likes her students to conform to the syllabus while the Math teacher approaches arithmetic with anecdotes to make the learning more fun for children.

The school is the world the film inhabits, so we don’t get a glimpse of their homes. A clever conceit. And Gupte captures the routine of school without ever letting the monotony get repetitive for the audience.

Stanley Ka Dabba is about the role of the teacher-as-parent. It’s about how every action of theirs shapes young minds. It could encourage them or make them withdraw into a shell. It chokes you in small doses all through (easily moved Mommies will shed buckets of tears), and the drama is done so subtly and elegantly and never for manipulation… until the very end when a slap jolts you out of the rhythm of understatement.

While the dramatic revelation is crucial to the film and makes us revisit everything we’ve seen in fresh light, it seems slapped on us as afterthought.

Yet, this is a great companion piece to Taare Zameen Par, even outdoing the former in sensitivity and freshness. If you are not put off by message movies (I am), you would, like Rosy Miss, give the director a pat on the back and a Five Star chocolate.

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