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  • About GNGM

    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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Aa Dekhen Zara: Nothing you can’t see coming

April 3, 2009 · by sudhishkamath

Genre: Thriller
Director: Jehangir Suri
Cast: Neil Nitin Mukesh, Bipasha Basu, Rahul Dev
Storyline: A photographer turns gambler when he gets a camera that clicks photographs of the future and soon realises he just has one week to live.
Bottomline: You won’t need the special camera to find out what will happen next in this film. But then, you won’t need brains either.

When life gives you lemons… Okay, here’s another one.

What do you do when your producer gives you Neil Nitin Mukesh?

A fairly good-looking chap, acting may not his biggest strength but he has those sinister smiles. With a face that’s vulnerable yet deceiving, Neil seems to be the kind who would go to any extent to make a little money, a persona he owes to Johnny Gaddar, his debut film. And boy, he can run. He reminds you of Hrithik Roshan, he may not be as talented but hey, he ain’t half bad as that Baweja boy.

Aa Dekhen Zara is the best you can squeeze out of Neil Nitin Mukesh – who may soon be singled out for this genre of dumbed-down crime-thrillers with guitar intros, quirky camerawork, slick cuts, surreal lighting, gun-fights and stylish clothes. The kind of cinema that will eventually give Johnny Gaddar a bad name.

It’s a fairly safe narrative structure, a formula that has been tried and tested over the years: first, a glimpse of something terrible that will happen in the future and then, a series of adventures as the protagonists try to stop that from happening, only to find that they are only inching closer to the inevitable. The TV show Heroes has formed a cult following with his formula.

So the story goes that Ray (Neil), a photographer down on luck, inherits a camera from his eccentric inventor uncle after his death. This antique piece of camera was probably invented after his uncle watched the ‘Back To The Future’ films back to back. And Johnny boy (yes, his name is Ray here but the first half of the film is like watching Johnny Gaddar in a parallel universe) puts the camera to good use by taking pictures of his hot neighbour (Bipasha) only to find a gun pointed at her.

Thanks to the camera, he saves the girl, makes a fortune at the lottery, the share market and the horse-races before the bad guys catch up on his secret. And to make things worse, the camera tells Ray that he’s headed into darkness.

The rest of the film is about Ray on the run with Bipasha to give him good company. Bipasha looks spunky, with a badass tattoo and attitude to boot and it’s only when she has to get her eyes moist that we have the time to discuss the glaring plot-holes in the script. Like why doesn’t he ever take a picture setting the date to the day after the D-day… Just to be sure, you know.

The stone-faced Rahul Dev playing a trigger-happy shooter called Captain makes things a little exciting with his cat and mouse game but this is clearly a Neil Nitin Mukesh showcase. Johnny is still a little raw on dialogue delivery, strong on subtleties and a fish out of water with heavy-duty drama. And, he can’t sing to save his life.

His self-conscious take on the Kishore Kumar song lacks the energy of the original and is smartly left relegated to the end credits, especially since it gives you a choice to walk out.

Like most horror films, Aa Dekhen Zara ends pointing towards a futuristic sequel that seems like a cross between Krissh and Love Story 2050.

Hurman Baweja, you may not be alone after all.

Your ticket to Sen City!

March 27, 2009 · by sudhishkamath
We also went to White Castle but I don't have that picture.

We also went to White Castle but I don't have that picture.

A big welcome to my Super-bro Raja Sen (some of you might know him as the Rediff Critic and/or as the most hated Indian online) to WordPress. Go to his official home now.

Aloo Chaat: Leftovers from another plate

March 27, 2009 · by sudhishkamath

Genre: Comedy
Director: Robby Grewal
Cast: Aftab Shivdasani, Aamna Sharif, Linda Arsenio, Kulbhushan Kharbanda
Storyline: Hindu boy loves Muslim girl, brings American girl home to convince the folks believe any Indian girl is better than American.
Bottomline: How to give your Dad a heart attack

There are many reasons why Aloo Chaat is bad for you.

1. Attacks your senses: Right from the robot-voice that goes Aloo Aloo Aloo Aloo Aloo Aloo, Aloo Chaat… [and repeat again and again] accompanying the interesting opening credits (probably the only high point of the film), this is one good-idea-spoilt-by-a-bad-one after another. By interval, you want cotton buds to filter out that annoying Aloo Aloo Aloo… And by climax, you want to stab the music director, who seems to have scored more pot than music, unleashing upon us the entire library of wack-a-doodle sound effects minus the laughter track.

2. Contains artificial flavours Aftab Shivdasani, Linda Arsenio and Aamna Sharif: Okay, Aftab turns in one of his better performances and quite earnestly but there’s very little help coming from the director or the writer. Aamna Sharif and Linda Arsenio in author-backstabbed roles have absolutely nothing to do. Aamna just needs to look like a complete idiot who cannot memorise lines without goofing up and Linda’s character, after a promising introduction sequence (where she is made to watch Purab aur Paschim to understand how to play Gori for the Indian audience) lacks motivation (she has no reason to play along and so seriously at that). Even a mannequin would look hot in a bikini but Linda, she’s still just flat-out plain.

3. In very bad taste (especially if you are pure vegetarian): ‘Stand-up’ comedy hits new depths in the office of the sexologist Hakim Tarachand who offers solutions to the sexually challenged in scenes written purely to sneak in the innuendo. Certainly not family entertainment.

4. Beware of the side-effects – Indigestion and Gas: Is there any reason why the film should go beyond the scene right at the end of the first act where Aftab tells the father categorically that he has decided to marry the girl of his choice, irrespective of what he feels. The father submits helplessly but the son isn’t just happy with that. He wants to mess with his old man’s head. Yes, films are about willing suspension of disbelief but watching undercooked characters doing things devoid of any motivation results in indigestion and Aloo Chaat is full of gas.

5. Stale, diluted, et cetera: The application of the Dilwale Dulhaniya strategy of manufacturing consent for a Hindu-Muslim marriage within a conservative joint family set-up, though inventive, loses focus as the makers are content watering down the socio-political subtext. It is rather unfortunate that such a potent subversive premise is reduced to an excuse to showcase Sanjay Mishra play the butt of all jokes in yet another film. Kulbhushan Kharbanda is no Amrish Puri but what could’ve been a spicy pot-poori of libertarianism with a lot of masala, Aloo Chaat ends up like a soggy leftover dahi-poori spat out after a gag reflex.

Straight: Virgin’s Record

March 27, 2009 · by sudhishkamath

Genre: Drama
Director: Parvati Balgopalan
Cast: Vinay Pathak, Gul Panag, Anuj Choudhary, Sid Makkar
Storyline: A shy virgin man in his thirties begins to wonder if he’s gay after he has a dream involving his one of male employees.
Bottomline: A silly light-hearted romantic comedy

The romantic comedy genre, a staple of Hollywood’s assembly line productions, strangely here in India comes to us as multiplex fare, starring one of the finest actors arthouse cinema has given us.

So yes, there’s nothing even remotely arthouse about Parvati Balgopalan’s ‘Straight – Ek Tedhi Medhi Love Story.’ In fact, Straight plays it safer than even the mainstream films made with similar themes treating homophobia and sexual confusion with light-hearted political correctness.

It wears a multiplex film badge only because of the profile of the leading pair, so don’t walk in expecting another ‘Dasvidaniya’ or ‘Dor.’

As we have read from the previews, the only talking point of the film is that Vinay Pathak and Gul Panag get to make out. Everything else is an excuse to get to that point. So we have a few inspired adventures lined up before this as Pinu Patel (Vinay Pathak pretty much like ‘The 40-Year-Old Virgin’) tries to lose his virginity – one that involves him popping pills and getting admitted to the hospital with a tent and another with him setting off the fire alarms in the bathroom because his equipment fails to work.

Very few actors can pull off slapstick of this nature with an innocent endearing charm and Vinay Pathak gives this sex-laced romantic comedy the much needed human face, making the most bizarre situations seem believable.

But for a couple of songs right at the beginning of the film that try hard in generating sympathy of the lead character, the rest of the film breezes through with a some feel-good moments.

Especially, the one where his new male friend (Sid Makkar Anuj Choudhary) tells him to narrate his biggest tragedy like it happened to someone else and when the girl he likes (Gul Panag) observes that it is the imperfections that make us all real. But that’s the thing about cinema – unless the technical aspects and the writing is perfect, it doesn’t seem real.

Gul Panag plays the perfect foil to Vinay Pathak and their chemistry towards the end is heartwarming (and then, the cornball climax sets in). The guys Sid Makkar and Anuj Choudhary break a few stereotypes associated with gay people and the fact that we never find out if is Sid Anuj is gay or not makes it all the more interesting.

Straight surely had more potential than it realises but ends up watchable anyway with the leading man stringing together a few good laughs.

P.S: Thank God for blogs. Unlike print where the errors are preserved for posterity, here at least we get to set the record Straight. 🙂

Jai Veeru: Bang Bang, Handcuffs and the Bhaisexuals

March 24, 2009 · by sudhishkamath

Genre: Action
Director: Puneet Sira
Cast: Fardeen Khan, Kunal Khemu, Dia Mirza, Arbaaz Khan, Anjana Sukhani
Storyline: Two boy friends go to Bangkok (one to catch the other) and they take a road trip back with gay abandon. Ahem! And there are handcuffs involved.
Bottomline: A hardcore guy on guy action film.

Fardeen Khan is smiling.

He has never got a single good review all his life but there’s been no dearth of films or offers. Apparently, producers seem to think he’s ridiculously good-looking that they have begun to invent reasons to justify why his character doesn’t need to act.
In Jai Veeru, because of a head injury, Jai’s mind-body coordination is apparently fractured. And Fardeen gets away with staring as an art form.

Jai Veeru is either a silly entendre filled action film or a fascinating study of repression and alternative sexuality. Here’s why.

Like most Boy-meets-Boy stories, mechanic Jai (Fardeen) meets con-man Veeru (Kunal Khemu) at a bar and the two strike a special dostana – the kind of bond where they find it difficult to live without the other. Even the repressed Veeru tries to go out with a girl, Jai shows up to ruin it.

Veeru in complete denial confronts Jai asking him: Meri Kyon Li? (Why did you take my trip?) before breaking into song and dance, wearing bling, beads on his hair and jewellery.

Thanks to a twist borrowed from The Departed, we find out that Jai is an Inspector, an undercover cop (he has been inspecting what Veeru’s been doing under the covers) and has slowly fallen for him.

“Don’t get confused, Jai,” the chief of police warns him. “Our priority is Tejpal.”

Who’s Tejpal?

Tejpal is a shuddh-Hindi speaking gangster (Arbaaz Khan) who later quizzes the duo about their relationship. While Veeru says he would give his life for Jai, Jai says he could kill for Veeru. Not unconvinced, Arbaaz pulls Jai’s shirt down to check for hidden microphones but ends up examining his chest hair.

In the encounter that follows, Veeru accidentally shoots Jai right on the forehead and escapes to Bangkok. But thankfully (quite unfortunately, for us though), Jai does not have a brain and the doctors are able to fix him up with just a metal plate and a slender nurse Dia Mirza.

But his thoughts are elsewhere. “Teri yaadien mujhe tadpathi hai,” (Your memories torture me) he sings. He has Dia walking and prancing around, tempting him, looking hot and sultry but his life is still like the desert he’s walking in.
“Main tumhare liye kya kuch nahin kiya Jai… Humare beech Veeru aa raha hai,”(What did I not do for you? But Veeru is between us) she tells him and he finally comes to terms with what he wants. He wants to go to Bangkok and nail Veeru.

Fardeen gets his way as the friends reunite and bond. Kunal flirtatiously bends away from him and farts playfully before Tejpal’s gunmen open fire.

Jai Veeru board the plane running, without realising the pilot’s been shot dead and the petrol tank punctured with bullets. A one-time pilot-trainee Veeru asks if there are any petrol pumps on the way. The fans outside the plane stop. And instead of turning the air-conditioning on, Jai panics screaming “May Day, May Day” into the walkie talkie. And Veeru gets to say the only joke in the film, “Abey yeh May nahin, June chal raha hai.” (This is not May, this is June.)

After Veeru safely crash lands, Jai gives him a head-banging (to remind him about the metal plate on his forehead). The strange bedfellows check into a honeymoon suite in a Bangkok hotel called Moon Light Green Wood as a board in the frame suggests that the hotel has Happy hour rates. Ahem!

The next morning, Veeru wakes up rubbing his chest and asking Jai: “Tu aadmi hai ya jaanwar.” (You a man or an animal?)

They watch a man-on-man wrestling match and wonder if the laal chaddi would win or the peeli chaddi and realise how much they missed being bum chums themselves.

Veeru looks tragically at the handcuffs that had come between them.  Soon, there’s action on the bed, one gets mounts the other.

The film builds to a climax that suggests that women can’t be trusted. And Jai lets Veeru go, giving him a watch that would hopefully remind him about their time together.

If Dostana was about two straight boys pretending to be gay, Jai-Veeru does exactly the opposite.

There are only four reasons why you would end up watching Jai Veeru.

1. You have a metal plate in your head.

2. You are into S&M, and are handcuffed to the seat.

3. You wanted a place to make out with your boyfriend and you are a guy.

4. You have a job that requires you to review this film.

RocknRolla: The Guy is back n rocking!

March 20, 2009 · by sudhishkamath

Genre: Action
Director: Guy Ritchie
Cast: Gerard Butler, Thandie Newton, Tom Wilkinson
Storyline: A bunch of crooks steal from each other till they all get what they deserve
Bottomline: Guy returns to his tried and tested formula

How does Guy Ritchie make films?

He gets an ensemble of gangsters and druggies.

Makes some of them stupid, some of them dangerous, some of them drip cool and all of them dishonest.

Has them cheat or steal something off each other until it all blows up into one big climax with all guns blazing.

Sticks to film noir but keeps the mood fun, lights it up in style, edits it slick, puts in a funky cool score and spares the good guys.

After two disappointing Madonna-inspired turkeys at the box office ‘Swept Away’ and ‘Revolver’ (that probably got jammed trying to pack in Kabbalah with crime), the maverick filmmaker’s back to his form and formula from the ‘Lock, Stock and Two Smoking Barrels’ and ‘Snatch’ days.

And since he has realised that this is what he does best, with RocknRolla (certainly his third best), the Guy’s decided to turn it into an official franchise so that at least the fans know what to expect and turn up at the cinemas.

Right from the very first frame, RocknRolla oozes style and attitude, the British accent only making it sound all the more cool. The camera whizzes from frame to frame and introduces us to a motley crew of characters who are inexplicably linked to each other. Here, the world of real estate business forms the backdrop for the series of unfortunate events to unfold.

You just can’t tell where cinematography ends and editing begins and Guy keeps the narrative seamless for the first half of the film, and has you guessing even within the predictable structure.

You know things will ultimately come a full circle and that the pieces will all fall into place, you know the twists are all around the corner but Guy plays his cards at his own pace, reasonably in control of all the characters he’s unleashed and their destinies.

With over two dozen characters fighting for screen time, with their own arcs and agendas, it is no mean feat to keep the humour alive. Watch that bit where Guy breaks linearity to tell us all about one hell of a chase – a getaway sequence featuring Gerard Butler on the run, being chased by near immortal Russians.

Gerard Butler is the Brit Clooney, a picture of cool even in the most stressed out situations, Tom Wilkinson completely wicked and Thandie Newton still very, very hot. Mark Strong really stands out among the rest of the bunch and ends up as the strongest of the lot.

In any case, the actors are just incidental. This is a signature Guy Ritchie film. And that makes it a safe bet not just for him but also for those of us who have missed the substance from one of the most stylish filmmakers of our times.

RocknRolla is a potent combination of style and substance. Get stoned, this slick flick is a trip.

Kalki: On playing the other woman

March 14, 2009 · by sudhishkamath

Not many would want to be in Kalki Koechlin’s shoes. But then, not many would be strong to try.

In her very first film, she ran the risk of being judged against the likes of Savitri, Vyjayanthimala and Madhuri Dixit who played Chandramukhi in the earlier versions of Devdas.

On the personal front, she went public about her relationship with her director and father of an eight-year-old.

The fact that Dev D is a sexed-up modern-day interpretation where Chanda happens to be a victim of an MMS scandal isn’t exactly something one can talk about without courting controversy.

“Half the country got off on that clip. They downloaded it. And, they turn around and call me the slut,” a splendid Kalki playing Chanda tells Dev in the definitive scene that instantly captures angst, reveals vulnerability and simultaneously, her strength.

“I watched a lot of world cinema with strong women characters,” Kalki reveals how she prepared to play one of the most complex characters onscreen in recent times. “These characters taught me a thing or two about how a woman’s strength comes from her vulnerability. She covers herself with a ‘No one messes around with me’ because she’s protecting something else underneath.”

Mention that the confident physicality of the character is striking
and she tells you it’s because “there were a lot of photos of Gia
(Marie Carangi), Marilyn Monroe and other iconic sexual symbols being passed around” for reference.

Did Anurag or she ever talk to the Delhi schoolgirl it is loosely
based on? Did they wonder if they were doing the right thing by
suggesting that the only choice left for her is prostitution?

“It’s completely fictional. The minute you take anything from real
life, you are going to put yourself in dangerous, controversial ground but I think it’s been done with sincerity and honesty. What are the possibilities when your family, people you love and care for – plus the public – judge you? Where do you go? We live in a world where there are a 1000 options, this is one route this girl happened to take. I don’t think the movie is about what she would end up as.”

Chanda wasn’t originally written as an expat/half-Indian role.

“That happened because I came in. Anurag works closely with his actors. Even in Mahi’s case, he wrote the character after having met her.”

Kalki landed the role after three auditions after getting a call from UTV. “When I moved to Bombay, I gave my photos to all production houses because I needed some income. I couldn’t live off theatre alone.”

Having recently won the MetroPlus Playwright Award 2009 along with her co-author Prashant Prakash for ‘Skeleton Woman,’ Kalki considers theatre to be her primary career.

“Theatre is the actor’s playground and film is the director’s. When
you are in film, you have to trust the director completely because there’s a bigger vision that you can’t see,” says the girl who came back home after studying theatre for three years at Goldsmiths, London and was also a part of a theatre company called Theatre of Relativity there for two years.

Post Dev D, Kalki’s parents, who are based in Bangalore, are relieved and happy. “For a while, they have seen me struggling and not making enough money to live out of theatre.”
Does she have more projects lined up with her filmmaker-boyfriend?

“No, no projects lined up. Everybody is very curious and cynical right now. It is very sensitive but at the end of the day, what can we say or do? We are together, we are happy and I guess, only time will tell.”

On ‘Skeleton Woman’

I first heard this Inuit folktale about a fisherman who finds a skeleton of a dead woman when I was in a theatre workshop with Anamika Haksar. We did a skit on it. When I was filming for Dev D, Anurag gave me a book with strong women characters. He had highlighted this folktale. It was a strange coincidence how the story kept coming back.

It was just an inspiration. Skeleton Woman is a love story but as the play continues, you know there’s something bizarre going on and everything is not as happy as it seems. It has a huge, strong, visual element. It’s larger than life and if there’s one thing that’s real in this relationship, it’s the people in it. But towards the end, you discover that even that is not real.

1977: Sarath Kumar Returns

March 12, 2009 · by sudhishkamath

Genre: Action
Director: G.N. Dinesh Kumar
Cast: Sarath Kumar, Old Sarath Kumar with white beard, Younger old Sarath Kumar in French beard and hat (the spy look), Young Sarath with dyed beard pretending to be old Sarath Kumar, Namitha, Farzana, Radha Ravi
Storyline: Scientist son of a Nattamai-looking head of fishing hamlet goes to Malaysia to clear the name of his dead father who had a deadlier past – he was James Bond or something.
Bottomline: Formula re-written for the zillionth time since 1977.

It’s always wonderful to sit back and watch any action film with Captain or Sarath Kumar. Forget criticising, even analysing the genre would be a cardinal sin. Who can forget Captain lying on ice, sporting only his boxers and enjoying the chill in Narasimha, forcing the villains to employ the shock treatment torture technique. But, only to have a nearby transformer explode and Captain deliver the knockout punchline: “Narasimhavukku current kudutha antha currentukkey shock adikkumda” (Even electricity would get a shock if it touches Narasimha). One will have to be a Class A moron to try and pass judgement on such fare.

1977 begins with a build-up for Raasaiyya (and you don’t have to be a genius to figure they are talking about Sarath) before goons descend at the fishing hamlet and burn the fish. The twist: Raasaiyya is a non-violent, bearded old man who has probably just seen Mani Ratnam’s Bombay the previous night. He douses himself with petrol and asks the goons to burn him, only to make them fall on his feet and beg for forgiveness.

Enter his son, scientist (Youth Sarath) who receives a hero’s welcome home (dancers form a circle around him and shower him with petals as he walks around with a smile). After donating his white blazer to an old man and sidey shades to an old woman, youth Sarath pays tribute to his Mom’s shrine (two bangles placed over the letter T) at home with old Sarath as Chinese music fused with S.A. Rajkumar-type pathos chorus take over the sentimental reunion.

While the son is away getting a Scientist award from the President, the father chances upon a newspaper with an advertiser’s feature on Malaysia. He immediately hams, runs in and rushes out with a suitcase and falls asking for water. A man with a bad wig runs in to get a sombu, only to drop it. Cut to old Sarath with coin on head.

Curious to unravel the mystery, youth Sarath leaves to Malaysia and immediately bumps into Fat Girl 1 (Farzana) and soon, they roll on the floor for a bit and kiss accidentally as it normally and regularly happens in most Captain/Sarath movies.

Again, the twist: Sarath and girl both carry the same kind of handbag (cuz Sarath is metrosexual hero who also wears pink often) and the bags get swapped after their collision. His has bottles of pickle and hers has a spare bra. And hero-heroine meet for first date.

Yes, so the girl is that kind of heroine who bites her lips when even accidentally touched by our hero. We also find out why she’s fat when we hear her order food: “Sandwich with lots of fries and chips.” But soon, the date is interrupted by a mentally ill old woman who tries to stabs Sarath with a fork but ends up injuring fat girl.

Given their mutual affinity for pink, the pair breaks into a duet. Malaysian bikini babes prance around at the beach as Sarath walks in with a flowery shirt, buttons open, flaunting his Mr. Madras chest hair and man boobs.

We soon learn that old Sarath was a prisoner serving a sentence for the massacre of over a hundred innocent people. We understand that the lawyer who won that case was long dead but had a daughter – lawyer Chandni, the director refuses to show us the clichéd court scenes and smartly opts to show us Fat Girl 2 (Namitha) cavorting in the water, as the chorus goes: Oh hot stuff, get ready for me.

But Namitha is an actor of substance. Since she wants to be taken seriously as a lawyer, though she has a plunging neckline, she has a lawyer’s collar around her neck falling into it. “My father was the king of law,” she says, insisting that old Sarath was probably guilty.

We aren’t told explicitly but maybe later that night, young Sarath probably caught a rerun of Moonru Mugam on TV. So, he sticks a beard, smokes from a pipe and walks in like older Sarath into a Don’s lair and almost succeeds in stealing a drink before the bad guy opens fire and an action sequence breaks out to heavy metal score.

Youth Sarath then learns that all the people who had given evidence against his father are now brain-dead and only a medical miracle can bring them back and you begin to fear if Best Scientist will automatically translate to being Best Doctor.

To boost his political image (he uses his party flag in the film), Sarath also believes in equality and wears clothes of the same colour and material as his heroines. Being an action hero, all he has to do is fight, get injured and soak in the loving as the competition between the girls in Large and the Extra-large costumes heats up and the former observes: Iva speeda paatha first-aid ille, first nightey mudichiduva. (At the speed she’s going, she’ll finish first night before first-aid)

The much awaited reunion scene between mother and son happens when she tells him: “Naan Un Amma. Nee yen pulle da.”

The flashback tells us that father Sarath used to be James Bond incarnate. As an honest police officer, he dodges a bullets by simply staring at it and sends the villain to jail causing the bad guy to open fire in public and frame honest cop for it.

Since, there’s not too much time left for the climax, one more song is sneaked in to show Sarath with a shaved chest and body art and the lyrics go: “Frig it up, come on.”

Go with a bunch of friends, and you will crack up every two minutes and go home laughing so hard, craving for the only thing that can be better than a Sarath action film – a Captain action film.

At the risk of sounding greedy, I would so like a T.Rajenddher action film.

Yaavarum Nalam: The Idiot-Box Bhooth entertains but overstays

March 12, 2009 · by sudhishkamath

Genre: Thriller
Director: Vikram K. Kumar
Cast: R.Madhavan, Neetu Chandra, Saranya, Deepak Dobriyal
Storyline: When an engineer and family move into a new apartment on the 13th floor, he comes across a daily soap on TV that closely mirrors the happenings in his household.
Bottomline: Tune in your head-sets for a modern entertaining supernatural thriller that could’ve done with a little snipping.

Understanding that spooks today sound more funny than scary to the modern audience, director Vikram K Kumar brings us that rare Tamil spook-fest that is designed to make you laugh at the eeriness of the situation.

And it’s the relatable humour, the matter-of-factness and the light-hearted mood that make you sit through this film that’s stretched beyond indulgence.

There’s a good reason that horror films around the world are usually about 100 minutes long or less. The supernatural genre needs a generous amount of willing suspension of disbelief and unless there’s a gratifying fantasy element involved, nobody wants to suspend disbelief for too long.

At least, not to watch blood and gore. Certainly not when the basic premise of the film itself is flawed (as is the case in most horror films).
Here, engineer Manohar (Madhavan) strangely seems to be the only one in the family who can see that the daily soap reflects the happenings in his household and he’s not your regular soap watcher. Or maybe the intellectually-challenged soap-addicts at home always miss that damned recap segment.

Yes, Hollywood horror films too take their time to get things going but once they do, the body count is always on the rise and the narrative goes at breakneck speed and stops only after most of the characters are dead, after momentarily dwelling into reasons that address the root of the horror. Here, Vikram K Kumar takes his own time to shake things up, plaguing the narrative with songs that should rightly feature in the deleted scenes of a DVD. Then, the flashback sequence in second act overstays its welcome and slams the brakes on the story-telling.

If the film works despite these obvious flaws, it is because the director seems to know exactly what the modern audience is tired of watching. No God-men spouting mumbo-jumbo, no psychotic looking psychics, no scary lecherous watchmen, no rickety lifts, no humans possessed by ghosts and most of the horror, except the very end, happens in broad day light.

P.C. Sreeram’s cinematography sets the mood and lights up the space for the spooks to unfold in a world familiar to us without ever resorting to overtly scary-looking visuals to convey horror. Even the gore in the flashback is made more effective when we are shown the aftermath in classic black and white grading. Just don’t pay attention to the occasionally drunken camera that shakes in a desperate attempt to build tension. If the look and the feel of this scare fest is world class, it’s purely because of P.C. Sreeram and Sreekar Prasad who should’ve rightfully been given the licence to knock off 30-40 minutes of the film.

And, there’s the leading man R.Madhavan who’s always in control of the film, playing down his reactions to make it more relatable to the urban audience, employing drama only when absolutely necessary. Neetu Chandra has poor-make up to blame and the poor lip sync/dubbing
suggests that they probably didn’t shoot some of her scenes separately
for the Hindi and the Tamil versions of the film.

With so many pluses, it’s a pity this film isn’t any shorter. But as they say, all’s well that ends well and ‘Yaavarum Nalam’ ends well.

The Pink Panter: The true story of the brave few who dared to be his friends

March 11, 2009 · by sudhishkamath

My latest film. Took four years in the making. Ha ha! Strictly only for those who like my stuff and/or those who know Abhishek Shah. Enjoy!

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