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All Smiles: That’s me, Vikram, Cary Edwards, co-producer Sashi Chimala and Paloma Rao
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Praveen being interviewed by NDTV
That’s Praveen Bharatwaj who played Prashant in the movie.
Two Thumbs-up, says Vikram
Vikram at the special screening of TFLW on February 21, 2007, right outside Six Degrees.
The venue on the D-Day!
Six Degrees: The venue for the special screening for select invitees and media.
Wednesday morning 10.15 a.m.
That image, at Six Degrees on February 21, will be followed by 91 minutes 13 seconds of the movie that’s been part of about 25 per cent of my entire lifetime and probably all my youth.
It is a special preview show for the media and opinion leaders. Do give me a call at 9382118103 and book yourself a seat if you feel left out.
Else, we have the commercial release on February 23. And, you can contribute to the cause of independent cinema and buy your own tickets. 😀
Wednesday morning 10.15 a.m.
That image, at Six Degrees on February 21, will be followed by 91 minutes 13 seconds of the movie that’s been part of about 25 per cent of my entire lifetime and probably all my youth.
It is a special preview show for the media and opinion leaders. Do give me a call at 9382118103 and book yourself a seat if you feel left out. Else, we have the commercial release on February 23. And, you can contribute to the cause of independent cinema and buy your own tickets.
😀
The girls on SS Music
This clip is from Southern Spice Music. The SS Music team was there to cover the premiere at the Chennai International Film Festival. Here’s what Usha, Paloma, Suriya and Srikanth had to say to them.
Bytes from the premiere – 1
This was at the premiere of my film at the Chennai International Film Festival on December 21. A quick look at what Suriya had to say along with my bytes on the film. Thank you, Times Now, for the footage.
Will post clips acquired from Galatta and SS Music during the week.
Another Evam play this weekend!
If you haven’t seen Oh God yet, this is your chance. This hilarious farce comes alive at Sivagami Pethachi auditorium on Saturday (7.15) and Sunday (3.15 and 7.15).
Here’s a review I wrote when it last played a coupla weeks ago.
One of my favourite actors from That Four Letter Word has come up with such an adorable performance in this play, you guys just got to watch it.
And if you are God-fearing and don’t like the idea of a spoof on the Holy book, father, son or spirit, stay home.
Babel: Watch closely
If you watched Babel and came out feeling indifferent to the film, chances are that you probably just lost the plot.
Alejandro Gonzalez Inarritu comes up with a cleverly crafted complex ensemble, layering his paradoxical portrait of mankind with the kind of diversity and the sameness that divides and brings together people across continents.
Yes, just like the complex construction of that sentence takes away from what it tries to say, Babel too, could do with a second reading.
Especially, when the tag-line goes: If you want to understand, listen.
The filmmaker who made ‘Amores Perros’ and ‘21 Grams,’ uses his trademark non-linear episodic narrative connected by one incident, this time around, to explore the politics of communication and the factors that keep the human race divided in an increasingly volatile world.
Yes, it helps to understand the Biblical context before you head to the hall. In fact, it is that context that ties everything up in a film that’s subject to varied interpretation.
At the surface, Babel merely seems to be the story of an American couple holidaying in Morocco, whose world is shattered, moments after a goatherd kid pulls the trigger to prove to his brother that the rifle (originally belonging to a hunter in Japan) given to them, could hit distant targets. In a remote village called Tazarine where surgeries and anesthesia are unheard of, the couple awaits medical aid.
With the parents stuck in Morocco, the Mexican nanny taking care of the American kids, is left with no choice but to take them along to her son’s wedding across the border with an eccentric, reckless nephew.
And far away in Tokyo, the Japanese hunter has a deaf-mute daughter who has a difficult time making the boys understand her quest for love.
But, as you catch and connect instances of weapons, lust/love (it once used to be the same thing as the director implies) sometimes manifested through incest (the censoring of a critical portion towards the end does take away a significant layer from the film) and the most primal needs of man (to hunt, to love, to endure and survive) scattered across the four stories, and, traces of all the needs in each of the stories (watch closely), you see the larger picture emerging.
The characters in the film suffer because they cannot understand each other. They have to deal with barriers of language, borders, moral codes, attitudinal differences and technological disparities to understand that in spite of the differences of how they live, they still are the same.
Characters in each of the four stories are primal at some level, they all get violent at some point, they are all animals looking to mate or looking out for their mates and children, they all are fiercely territorial and guarded about people of other races and yet, at some level, they are all still capable of survival, bonding and in understanding each other, if they tried.
The fact that Brad Pitt stars in the film is rendered irrelevant by uniformly first-rate performances by the entire ensemble, especially the raw talent from Morocco. Technically, the film, though not as stylised as his earlier works, is heart-wrenchingly credible in its portrayal of people with the docu-style cinematography and minimalist background score.
Pure cinema, it is.
MADRAS INK. 