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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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Dhoka: Posters could betray

September 21, 2007 · by sudhishkamath


Genre: Drama
Director: Pooja Bhatt
Cast: Tulip Joshi, Muzzamil Ibrahim, Gulshan Grover, Ashutosh Rana, Aushima Sawhney, Anupam Kher
Storyline: A Muslim cop tries to understand why his wife turned a terrorist and diffuse a terrorist plot.
Bottomline: Don’t say the title didn’t warn you

Please don’t step into the cinemas to watch Tulip Joshi just because she’s in the posters of Dhoka. If MTV produced this film, they would’ve called it ‘Bakra’.
This movie is largely about Pooja Bhatt’s experiments with dead wood – an inanimate, inarticulate object called Muzzamil Ibrahim. How do you make a wooden puppet believable?
She tries all the tricks in the book.

1. Underplay: Muzzamil says all the lines like he’s reading them off a teleprompter during a script reading session.

2. Lights On: This is a tactic Pooja employs within 15 minutes of the film knowing underplaying alone will not help. She puts him in an police interrogation room and throws harsh light on him to make him squint and say his lines from a teleprompter.

3. Silhouette: This is a smart one probably offered by the cinematographer Anshuman Mahaley. Shoot his scenes in silhouettes so that nobody knows what on the planet his face is trying to tell us.

4. Distraction: Get a co-star with a squint (Aushima Sawhney) so that it intrigues the audience on who is she talking to. Always make sure she has a new excuse to show her shoulders in every single scene in the film because her stock expression – the stare – does give them a scare.

5. Wood-cutting: This is a technique the editor came up with. The best way to deal with a wooden actor is to cut him off so often and focus on the better actor in the scene – Gulshan Grover, Tulip Joshi, Manish Makhija and the fat guy/girl with the lipstick and long hair to keep the audience guessing about his gender identity.

6. Music Cues: The overdone orchestral background score suggests the mood of the scene lest you can’t decipher it from Muzzamil’s look. This is a serious film even if the lead actor looks like a joke.

But it’s not just bad acting that’s the bane of this film, it is extremely slow-paced with an obvious lack of conflict until the cop finally meets the man who brainwashed his wife into becoming a terrorist at the end of the second act. The crucial revelation earlier (the backstory on why she became a terrorist) is predictable and been done to death many times before, with the only twist in the tale apart from the mandatory rape is that the bad cop Ashutosh Rana also took an MMS clip.

The only thing intriguing about the film is that shot in the poster of Tulip Joshi emerging out of a dip in water. It appears as a split-second wet-dream sequence that Muzzamil has before waking up in fright. Or was it was happiness? Or excitement?

http://sudermovies.blogspot.com

Apna Aasman: Super-natural and intelligent

September 15, 2007 · by sudhishkamath

Director Kaushik Roy’s intentions are noble, characters believable and this thought-provoking plot can’t be more relevant in a plastic world on the brink of technological breakthroughs.

The multi-layered narrative replete with references from mythology and literature begins slowly and steadily… The story of a family that’s become dysfunctional after the father Ravi (Irrfan breathes so much life into his role as a plastic salesman) drops his son Buddhi (Dhruv is the find of the year) as a child, causing brain damage.

After dwelling into the resulting angst in the lives of the parents (Shobana slips under the skin of the mother with unbelievable conviction), Kaushik sets it up as a psychological thriller of a mythical quality when the father comes across a miracle drug – a ‘brain booster’ that could help Buddhi overcome autism and transform him into a genius.

Since such things happen only in fables, Roy employs cinematic techniques to connect us with the surreal and the larger than life – psychedelic dreams, metaphorical montages and heightened exaggeration from the sensational TV camera point of view – while keeping the emotional core credible, rooted in the realism of the fast food and quick-fix solutions.

The only stumbling blocks are product placements and an overdose of blatant referencing – Like the moment when Rajat Kapoor, the voice of the conscience in the film, quoting Kahlil Gibran, hands over a copy of the book to the parents to find their peace.

Yes, we understand the director’s predicament of ensuring a politically correct resolution for the film to drive home his message to other parents with differently-abled children but the quick fairy tale ending here is simplistic. It comes across as too convenient and seems forced on to an otherwise intelligent film.

Here’s to the arrival of a promising, sensitive filmmaker.

http://sudermovies.blogspot.com

Dhamaal: It’s a mad mad mad remake!

September 14, 2007 · by sudhishkamath

Genre: Comedy
Director: Indra Kumar
Cast: Arshad Warsi, Riteish Deshmukh, Javed Jaffery, Sanjay Dutt
Storyline: Four friends and a cop in a Rat Race of a Road Trip to find money buried under the big W.
Bottomline: It’s a mad mad mad mad retake

Dhamaal is one of those movies you so want to hate, right from the minute you hear of the plot of the big W – stolen from ‘It’s a mad mad mad mad world’ with a formulaic line-up of Hindi Cinema’s funny men and plenty of recycled PJs (Phaltu Jokes) and sequences lifted straight out of Road Trip and Rat Race.

Yet, somehow, it all strangely works – at least in the first half of the film. And that’s a good enough reason to watch the film. Ninety minutes of entertainment.

Put off completely by Adnan’s Sami’s dated ‘slipping-on-a-banana-peel’ score – a set of stock comic instrumental cues from the low budget comedies of the seventies, I braced myself for a torturous two and a half hours.

Instead, I found myself laughing at the stupidest of jokes, the lamest and the oldest of them, in spite of the silly score and the stereotyped characterisation of four jobless losers unable to afford rent.

That’s what good actors can do. Arshad, Riteish, Javed, Aashish, Sanjay Dutt, Asrani, Tiku Talsania have probably done these roles many times before but with brilliant comic timing and delivery, they make the stalest of jokes refreshing.

There’s this bit in the early portions when a dying criminal (a hilarious Prem Chopra) kicks the bucket, quite literally. That’s the point you completely surrender to the madness, put your brain on pause mode and decide to smile, forgiving the unapologetic, irreverent lack of originality. The means justify the ends. Entertainment.

The second half tumbles downhill as the friends split up providing you a few laughs along the way, nevertheless.

But by then, your brain’s gone numb to the insanity and you just decide to recover cost of tickets by way of jokes that come your way.

‘Dhamaal’s a mast-watch, goes perfectly well with pop-corn and cheese balls.

http://sudermovies.blogspot.com

Darling: Another grave mistake!

September 14, 2007 · by sudhishkamath

Genre: Thriller
Director: Ram Gopal Varma
Cast: Fardeen Khan, Esha Deol, Isha Koppikar
Storyline: When married man Fardeen accidentally kills his pregnant secretary after an affair, she comes back to haunt him
Bottomline: Blink. It’ll be gone.

When Darling wants to seduce her boss, he warns her “Log Dekh Rahe Hai.” And she asks him to close his eyes so that he can’t see them.

Ram Gopal Varma doesn’t need to worry about the first part. People aren’t watching. Darling is certainly not a word they would want to associate with him. Not after ‘Aag.’

Take a cue from the film and close your eyes. It’ll go away in no time.

The good bit first.

Darling is way better than ‘Aag’ because it does not have decent raw material to begin with. The horror show includes a fat chap hero with a butt-shaped chin, one heroine who looks like a man trapped inside a female’s body and another that looks like woman in a man’s.

No prizes for guessing who’s who. And hey, none of them can act to save their life or Varma’s. Which is what adds a spark of comedy to this grave spooky tale.

In spite of this flush-worthy line-up, Ram Gopal Varma does manage to keep things engaging, thanks to some seriously haunting cinematography in the first half. The bits before the ghost arrives, when all you see are the bhooth’s point of view remind you of the director’s class in setting up the stage for the film to take off.

Smartly crafted because that segment focuses on the psychological after-effects of a man guilty of causing his secretary’s death. This would’ve worked with a better actor. But Fardeen can’t manage close-ups for he does not understand underplaying. He’s Bollywood’s fat answer to Keanu Reeves.

Once the ghost makes an entry, even the cinematography can’t save the film. So what does he do for pay off? Realising he can only do so much with bad actors, he turns the second half into a comedy packing it with laughs. Some you laugh with, many you laugh at.

Like his recent films, Darling at least in a couple of scenes, flickers with the promise of a debutant director with potential.

What’s scary is that Varma has become the ghost of a filmmaker he once was. Sometimes there in the film, sometimes gone.

http://sudermovies.blogspot.com

Review: Ram Gopal VarMaa Ki…

September 8, 2007 · by sudhishkamath

Sorry about the delay in posting the review. Was a little busy all week. You can read my uncut review of Aag or How to burn in hell here.

Aag: Bh-aag!

September 8, 2007 · by sudhishkamath

Genre: Horror
Director: Ram Gopal Varma
Cast: Amitabh Bachchan, Mohanlal, Ajay Devgan, Prashant Raj
Storyline: A cop hires two buddies to capture the dreaded gangster Babban Singh.
Bottomline: Miracle cure for insomnia.

When Asif Ali, a music director and the eldest son of the Prince of Arcot, bought a new handycam, he got together his family and friends and remade about 20 minutes of Sholay – as a home video. All they did was re-enact the scenes just the way they had been shot, with the same frames that had been used in the classic, with even the same original audio track. So we had Ramgarh transported to Amir Mahal. He hired horses, extras, costumes, quite a bit of detailing for someone who just wanted to learn how his handycam worked. He had never shot anything before.

We’re talking about Asif Ali’s Sholay because it’s worth more space than Ram Gopal Varma Ki… [Insert appropriate cussword, if you are a fan of the original]. Also, because its only fair to compare one remake with another.

What Asif Ali did was a tribute, even if it was just to test out his new toy.

David Dhawan made ‘Jodi No.1,’ as a cheeky tribute to Sholay.

Though irreverent, that was true homage. Unpretentious, it interpreted the classic effortlessly, confident in its own skin and consistent with the director’s style.

Ram Gopal Varmaa Ki… [Insert appropriate Hindi ‘gaali’, if you are a fan of the original] is an insufferable eighties potboiler about a bad ass bandit called Gabbar.

The kind of film that makes turkeys like ‘Daag – The Fire’ look infinitely slicker.
There’s no stopping Varma’s ‘Aag,’ especially, after he cuts off his editor’s arms (in the original, Gabbar cuts off Thakur’s). The film agonisingly runs for over two and a half hours, unleashing its sadistic streak with bursts of Babban (Bachchan playing out his childhood fantasy, just like a child possessed) and we find ourselves at the butt of all cruel jokes: Nisha Kothari’s “performance”.

It’s difficult to review ‘Aag’ because I kept nodding off to sleep, waking up to be occasionally frightened by the name mothers will drop in the coming weeks to scare kids crying in the cinemas: “Soja, nahi to Nisha Kothari aa jaayegi.” She makes ‘Su-side’ sound like a good idea.

Hema Malini should be granted anticipatory bail and Presidential pardon for it will be no crime if she shoots Nisha in the face on grounds of self-defense/pain-relief.

Sholay was way ahead of its times with elaborate set-piece action sequences of an epic scale – remember the painstakingly shot and orchestrated train-being-chased-by-dacoits sequence in the original? ‘Here, when Ramu on a Lazboy, rents out run down ruins of a fort and let’s his Steadicam operator run amok.

Deserted ruins instead of a speeding train crashing into timber for an impact? The metaphors can’t be more definitive of the respective narratives or the audience response.

Watching stuntmen who’re shot fall down animatedly, you let it pass thinking maybe he’s just recreating the seventies feel all over. You may have forgiven him for that too, if it were consistent.

‘Aag’ is a confused product with conflicting sensibilities for an identity crisis.

Just as you think it’s recreation of a bad eighties (come on, the seventies were way too classy and stylish) film, it opts for the slickness and subtlety of Company. One moment, you have the remix of ‘Yeh Dosti’ and the next moment, Ramu remixes ‘Ek Pal Ki Zindagi’ (from D) as ‘Do Pal Ki Zindagi.’ He wants to marry his realistic sensibility to the stuff legends are made of. Mythology. One moment, you see a healthier Mohanlal reprise his role from ‘Company,’ and another, you see him prance around doing the ‘koothu’ with unflattering wide-angle extreme close-ups.

Sholay came across as a seamless narrative, in spite of the motley crew of unforgettable characters. Here, in spite of its attempt to trivialise, simplify and omit key moments and lines, the screenplay is terribly disjointed, at times even making you forget characters who exist in the film that it is impossible to connect with the caricatures.

There are all of three scenes to write home about. Veerendra Saxena as A.K.Hangal is heartrendingly good. Two, Bachchan as Babban when he saws off the Inspector’s fingers is psychotically effective and the third, I forget but that Prashant Raj chap isn’t half-bad.

There’s so much to bitchslap Ramu for but this film isn’t even worth talking about.

http://sudermovies.blogspot.com

The first annual indie film festival – i!

August 30, 2007 · by sudhishkamath
in association with

Indian Independent Filmmakers Foundation

presents

i

The first Annual Indie Film Festival and Unconference

September 3-7, 2007

Six Degrees

September 3, 2007

0900: Premiere of Apna Aasman directed by Kaushik Roy

1045: Interactive session with Irrfan Khan and Dhruv

1115: Session: Freedom from formula

Panelists: Filmmakers Balu Mahendra, Cheran, Kaushik Roy & Rajat Kapoor

Moderator: K.Hariharan

Scope of discussion: What is Indie Cinema?

Is it defined as the work of an auteur or a result of an economic distinction or medium?

September 4, 2007

0900: Framed directed by Chetan Shah

1100: Session: Cinema as multi-media

Panelists: Chetan Shah, Girish Ramdas (CEO, Galatta.com), Senthil Kumar (Director, Real Image Media Technologies), Suresh (Ananda Pictures), Thyagarajan (Sathyajothi Films), Nag Ravi (CEO, Insight Media).

Moderator: Tan Ngaronga, CEO, Sathyam Cinemas

Scope of discussion: Channels of distribution, exhibition and need for Data Banks

September 5, 2007

0900: Package of student films from L.V.Prasad Film and TV Academy

1100: Session: Script Clinics and Film Clubs

Panelists: K.Hariharan, ‘Crazy’ Mohan, Amritraj Gnanam (Dean, SRM Institute of Communication), Priya V.

Moderator: Madhan (Vijay TV Host/Critic)

Scope of discussion: Nurturing fresh talent, whetting scripts and grooming our young filmmakers

September 6, 2007

0900: Chennai 600028 directed by Venkat Prabhu/ premiere of an unreleased acclaimed film (to-be-confirmed soon)

1130: Session: Financing and Global Perspectives

Panelists: D. Ramakrishnan (NFDC), Madhav Das (G.V. Films), Sriram (Aalayam), Venkat Prabhu, Kamali Ramachandran (Reliance Entertainment).

Moderator: Anita Udeep (CEO, N-Viz Entertainment)

Scope of discussion: Corporatisation of film business, sources of funding.

September 7, 2007

0900: Hari Om directed by Bharatbala

1100: Session: IIFF: The Long Road Ahead

Panelists: Bharatbala (Bharatbala Productions), Kiran Reddy (Sathyam Cinemas), G.Dhananjayan (Moser Baer), Revathy, Rohini and Dharani.

Moderator: Baradwaj Rangan (Features Editor, New Sunday Express)

Scope of discussion: Need for networking, how to keep the movement going, monthly activities, scope and role of film festivals.

Seating for the film festival is free and on a first come first served basis. There are a few seats available for reservation.
Mail iiffchennai@gmail.com to confirm your seat.

And yes, do spread the word.

September 8, 2007

1900: RTFF Edition 3 – The Heist and Neo-Noir Edition

Venue: To be confirmed soon. A friend of mine who has an ad agency has volunteered his roof, it has a little construction debris which is likely to be cleared by the weekend. So will keep you guys updated on that. You can register for RTFF on the wiki.

The Host: GobbledlyGook Monster

August 25, 2007 · by sudhishkamath


The Host makes you miss Johnny Sokko

Cast: Kang-Ho Song, Hie-Bong Byeon, Hae-il Park, Du-Na Bae, Ah-Sung Ko
Director: Joon Ho Bong
Genre: Thriller
Storyline: Gobbledygook monster plays hide and seek in the sea before gobbling down the gooks.
Bottomline: Dubbed a disaster. Subtitles, please.

How you wish they hadn’t messed with the original and not dubbed this Korean visual effects masterpiece into English!

It is rather difficult to take this monster film seriously with the flippant, often distracting, dubbing. It’s almost like the dubbing artistes decided to have their bit of fun, taking digs at the film, the dialogue delivery sounding rather tongue-in-cheek.

Had it been subtitled and retained in Korean, ‘The Host’ (‘Gwoemul’ in Korean) would’ve been immensely watchable. In English, it sounds like a sequel to the Hong Kong-made madcap entertainer Kung Fu Hustle.

The story isn’t new to us Asians, especially to those of us who grew up watching Godzilla on the big screen or Johnny Sokko and his Flying Robot on the small. We’ve seen creatures of all shapes and sizes on a rampage; assorted monsters on a munch-fest umpteen number of times. So why should we warm to ‘The Host’ today when it sounds like a spoof on the Grindhouse cinema of the seventies?

One, it works as a throwback to a bygone era, a homage made richer by state-of-the-art visual effects. Two, there seems to be some sort of poetry to the visuals with director opting for silence and quietness to add drama to the horror usually represented by characters shrieking loudly and running away. Here, they stand rooted in fear, terrified to even scream. Sometimes, the narrative distances itself from the thick of action and strives for objectivity and realism, even at the risk of making the sequences appear ridiculous. Sample a bunch of tourists on a bus who are briefed by their guide about the Han River look out only to witness a giant reptile chase scores of people all around the bank. Within moments, we are back in the middle of the bloody chase where a helpless father clutches the hands of his daughter and flees, only to turn back and look he has got hold of the wrong girl. The music goes quiet again and we feel for the character in the middle of all that comedy.

That’s the kind of movie ‘The Host’ is. Funny, unpredictable, moody, spectacular, cheesy and poignant.

http://sudermovies.blogspot.com

Rush Hour 3: Same old traffic, different road

August 25, 2007 · by sudhishkamath

Cast: Jackie Chan, Chris Tucker, Noémie Lenoir
Director: Brett Ratner
Genre: Action
Storyline: Inspector Lee and Detective Carter go to Paris to take on the dangerous Chinese Triad.
Bottomline: Rush Hour is Rush Hour in any part of the world – only the ambience changes, the action is just the same.

The funniest part of Rush Hour 3 was the slide at the beginning that showed the local distributor’s corny title card that read more like an obituary ad, with the mug shot and all. If only the rest of the movie was as hilarious and not as cheesy.

What we get instead is another dose of the race stereotypes, borrowed jokes and stale situations, which you will only enjoy if you go with an open mind and an empty head.

It is surprising that Rush Hour 3, in spite of being helmed by Brett ‘Prison Break’ Ratner, who directed the first part, is in no hurry to get to the plot. This is assembly line cinema at its laziest.

The script for Rush Hour and its sequels were probably made up during a quick drive down an empty street: Two cops, an East-meets-West version of Lethal Weapon or Bad Boys, kick it (like the poster says) yet again, crack some jokes about each other’s race before showing off their respective talents – Chan with his gravity defying stunts with other Asian stuntmen/women and Tucker with his loud-mouthed black American stand-up act.

Hence, the only plot point that differentiates the third part from the first two is the location: Paris. The location dictates that the duo has to check out women at the cabaret, make friends with at least one French guy and hang out at the Eiffel Tower, literally, for the stunts.

Pretty predictable.

If you’ve seen Dude Where’s My Car and Austin Powers, you would’ve already got bored of the Mi/Me and Yu/You jokes. Else, you have something to laugh about.

So why would you want to watch this?

For Jackie Chan, of course. We love Jackie for the guy he is, for his never-say-die spirit and love for action.

Who wants a plot when you can see Jackie still kicking it, right?

http://sudermovies.blogspot.com

ECR: Chennai-Pondicherry

August 25, 2007 · by sudhishkamath

Click the pic to read stories behind those moments.

One day in the life of East Coast Road

I had been meaning to do this ever since I bought a cruiser after watching ‘Motorcycle Diaries.’ To hit the road and ride far away from the everyday mechanics of urban life.

So when a chance came by for this story, I jumped right on to the bike.

Just the previous week, I had postponed a road trip with a friend because my bike was due was service. I still hadn’t fixed the chain noise that was bothering me. But hey! What’s a road trip without any real adventure?

The fact that I had never done 300 kilometres by bike in a day (to Pondicherry and back) only added to the excitement.

The East Coast Road had earned the reputation of being one of the deadliest roads in the State with high accident rates year after year, after being developed as a more scenic alternative route to Mahabalipuram in the late-nineties.

On December 22, 2000, the Tamil Nadu Government and Tamil Nadu Road Development Company (TNRDC) signed up for the improvement of 113.2 km of ECR from Kudimiyandithoppu near Chennai to Koonimedu on the outskirts of Pondicherry, entrusting the task to TNRDC on a long-term basis.

Thanks to a friend who had once worked with TNRDC, I knew a little about the challenges faced by the authorities in maintaining that stretch.

I set out from Anna Nagar at five a.m., picked up Darshan, a friend who’s always game for adventure, from T.Nagar. By 5.45 a.m., we were already cruising down the I.T. corridor, the quickest access route to Thiruvanmiyur – where ECR begins.

The good thing about taking a bike down that road is that you don’t need to shell out the toll fee at the plaza (the ECR scenic beachway route begins a kilometer before the toll gate) that monitors (with surveillance cameras) every car that passes that way.

The East Coast Road, last year, recorded an average traffic of about 10,830 passenger car units every day. According to my insider friend, the volume of traffic has been growing by about 20 per cent every year.

The scenic part of the ride actually begins only a few kilometres after Mayajaal, a little before Muttukadu as casuarina groves hide the sea from the road, showing us occasional glimpses of virgin beaches – only that there is no visible access route to the stretch but through the paper-plate infested groves with boards that warn you of thieves in the area.

The backwaters at Muttukadu reflecting the early morning hues in the sky made for a perfect canvas. We had plenty of photo opportunities every few kilometres thereon.

The bevy of dancers at a local temple festival en route to Mahabs were only too happy to pose for Darshan, as the drummer got into a head-banging trance, encouraged by the presence of the camera.

After a quick meal at Mamalla Bhavan at seven a.m., we clicked a few more pictures at the rock carvings at Mahabalipuram, lured by the sight of goats lending the sculptures a touch of modern art as they scattered themselves strategically all around the caves, striking poses for the camera.

Intrigued by the sight of the number of saffron-clad travellers we had noticed in the course of the last 20 kilometres, we stopped to enquire. Sathish Kumar, part of the faculty at Jeppiar Engineering College, said that he along with his mates Vadivel and Karthikeyan were on their pilgrimage by foot to Velankanni. “We started on Sunday evening. We will reach only on the 27th,” said Sathish.

The traffic had increased since Mahabalipuram and we realised that the best time to hit the road was early morning. There were many buses and share autos hogging road space during the day. Besides, riding in the night is dangerous given that it is near impossible to spot a restless animal darting across the road. Besides, what if the bike broke down?

The only time the bike made that annoying chain noise was when I slowed down and changed to first gear. Maybe I shouldn’t stop too often, I decided, to ensure we weren’t stranded in the middle of nowhere – especially now, that we were halfway between Mahabalipuram and Marakkanam, the town closest to Pondicherry.

That’s when Darshan pointed out to the TNRDC Helpline posts that we had seen every few kilometres all along. He got down to study how they worked, just in case we needed help. The instructions were pretty simple. All you had to do was press the button three times and speak into box.

With just another 50 kilometres to go before Pondicherry and not all that tired, we decided to find out more about the ruins of the Alambarai Fort and backwaters, about five kilometres off ECR.

It was only on those bumpy roads that we realised what a smooth journey it had been till then.
A brief stopover later, we were back on ECR. The Highway Patrol cars shuttle between the toll-gates outside Chennai and Pondicherry throughout the day and it is rather safe road to drive. Closer to sunset, the traffic peaks with people trying to get home before dark. ECR is a beautiful sight in the night indeed with the glowing neon road markings with thermoplastic reflective paints and cats eye delineators. But it’s the stray animals that could kill with their surprise entry.

Once we got to Pondicherry incident-free, we decided to spend the day there and head back early in the morning. With the rains unleashing their fury on the roads late in the evening, we were glad we were indoors.

But as luck would have it, it rained all night. The roads were wet, a light drizzle accompanied us till Mahabalipuram in the morning. But then, we had asked for adventure, right?

Post Script:
The same night I got back, I hit the road again to head to my office. Ten metres later, the bike chain slipped. Took me a while to fix it and 100 metres later, it slipped again. It was close to midnight and I had no option but to ride at 10 km per hour to get to work and sign in before 1 a.m. I asked for this, didn’t I? I’m glad I got away riding at that speed for 10 kms when it could’ve been worse.

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