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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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Review: MI: 3

June 14, 2006 · by sudhishkamath

Mission Unmissable

Cast: Tom Cruise, Philip Seymour Hoffman, Billy Crudup, Ving Rhames, Michelle Monaghan, Jonathan Rhys Meyers, Kerry Russel, Maggie Q, Laurence Fishburne
Director: J.J.Abrams
Genre: Action/ Thriller
Storyline: Ethan Hunt has to rescue his newly-wedded wife and not let down his mission
Bottomline: The best Hunt

For large parts of the movie, you could almost see Shah Rukh Khan playing Ethan Hunt. But having said that, that is no excuse for Hindi cinema to adopt/steal yet another Hollywood plot just because this one seems straight out of our own milieu.

Even the ‘Wedding Crashers’ plot seemed to be straight out of the Yashraj Films camp. Maybe the differences between sensibilities of Hollywood and Indian cinema are narrowing down after all.

With Mission Impossible-3, however, the similarity with Asian cinema ends with the plot and the sentimentality.

But what really keeps MI-3 ticking is its break-neck speed, explosive gizmo action and mind-blowing visual effects and of course, Tom, who returns as the charismatic suave agent of Impossible Mission Force, Ethan Hunt.

MI opens with a high-tension scene with Hunt tied up to a chair by bad guy Owen Davian (Philip Seymour Hoffman) who has put a gun to Julia’s (Michelle Monaghan plays Hunt’s newly-wedded wife) head right in front of his eyes. The gun goes off and the theme sets in for yet another
doubly impossible mission.

There is not a dull moment during the two-hour duration of the action adventure, full credit to debutant director J.J.Abrams, who, many MI fans would believe has arrived at the right mix of intrigue, drama, action, adventure and gizmo-gadget tricks.

The first instalment, directed by Brian De Palma, though considered the best in the series, had many people going back to the halls because they didn’t get it the first time. The second version, dumbed down by John Woo, redefined the series with his signature slickness as heralded the arrival of Ethan Hunt, the new age Bond.

This one takes that Asian influence a little further, spikes up the cocktail of stunts with a little drama, to arrive at a greater common denominator around the world, especially the Asian markets. Also, there are quite a few Asians in the cast, including Maggie Q, as one of Hunt’s team-mates, in this yarn that takes Hunt to Shanghai, to indicate that MI is looking to make the franchise attractive to markets all around the world.

Director JJ Abrams, creator of the TV series ‘Lost’ and ‘Alias,’ along with his screenwriters Roberto Orci and Alex Kurtzman (also of ‘Alias’) might have created the single most definitive installment that restores the MI franchise to the intellectual respectability and sophisticated glory Brian De Palma brought to the TV series. There’s no way you will miss watching MI-4 after this.

Good old Tom Cruise is first-rate, now quite comfortably settled under the skin of Ethan Hunt, just as Ving Rhames is, as his aide Luther Stickell from the first two parts. Michelle Monaghan makes for an attractive Hunt babe but the film belongs to Philip Seymour Hoffman as the big, bad all-powerful villain who gives Hunt literally a run for his life and his wife. Watch that scene when Hunt interrogates Davian as the Hunt-ed talks like the Hunt-er, something that furthers the tension of the opening scene.

Yes, the performances are timed to perfection just like the taut screenplay is executed to precision with enough ammunition and technical wizardry but at a more basic level, what will take MI-3 to the remotest of villages around the world, irrespective of the dubbing, is the visual story-telling: Exactly what made James Bond the most successful film franchise.

This one’s really Mission Unmissable.
eom

Ikkada choodu!

June 13, 2006 · by sudhishkamath

Moral of the story: Naan enna telunguliya sonnen?
Learn your language. My nanban, captain, filmmaker and editor Vijay Prabakaran made this one minute film for a competition.

Review: Pudupettai

June 1, 2006 · by sudhishkamath

Half-Classic!

You can draw parallels between the growth of Selvaraghavan as a filmmaker in Kodambakkam and the rise of Kokki Kumar as a gangster in Pudupettai.

The rise part of the film is near flawless. It’s almost a classic but for that exceptionally cheesy scene when a skinny, gawky reduced-to-pulp street urchin that resembles a pencil, surrounded by 100 gangsters makes an escape on a tricycle (with a terribly fake visual-effects produced sunrise in the the backdrop) and that too AFTER killing the gangleader’s own brother.

If you forgive that one scene from the first half of the film, the movie’s incredibly compelling that Selvaraghavan, instead of putting “Interval,” should have actually put “The End” and made us await the sequel. And spent that time doing a little more work on Book Two.

And, we could all have gone home believing that Selvaraghavan has risen to the top as among the best filmmakers in Kodambakkam.

The first 90 minutes are among the best we’ve seen in Tamil cinema in recent times, as Selvaraghavan takes us into the dark side of the city, where right and wrong are determined purely on the basis of survival. With a couple of nods to Coppola and maybe a couple to Varma and Mani Ratnam, Selva shows us a world he seems to know extremely well and in a sensibility which is undeniably and authentically crass. Ignore the visual effects department and Yuvan sometimes going a little overboard and what you get is a gangster epic.

Dhanush, a tad animated (but that’s how the mass likes it) gets under the skin of Kokki Kumar, quite comfortably, a Plus 2 drop out who takes refuge in the world of crime and quickly adapts and learns the ropes to stay alive. The things he does are ballsy to say the least, and made appropriately believable for most part of the first half.

It’s almost like how Selva made it to the big bad world of films… First, as a neglected third-rung upstart who did not even get credit for his work (Thulluvatho Illamai), then a hit (Kaadhal Kondain) that got noticed by everybody in town. And another (7 G Rainbow Colony) that signalled his arrival. Undeniably good cinema even if it was wrong.

And with Pudupettai, that boasted of many firsts — shot in Super 35, orchestra from Bangkok, released in 2k digital resolution — saw him reach the top, quite convincingly, even if a little flawed. I’m not sure if cinematographer Arvinda Krishna would have actually liked the inconsistency in colour correction and grading. Seems like a very hurried job by some newbie effects supervisor who wanted to try out all the effects that Lustre provides him with.

The second half is when the nightmare begins. It’s terrible to the extent that it is literally a criminal waste of film.

This is the bit when power gets to his head. What is true for ‘Kokki’ Kumar seems to be true for Selva too. So when Kumar says: “Overa aadna epdi thaan,” you really feel like telling that to Selva too.

Just to show off his directorial skills and to say he’s not influenced by ‘Nayakan’ or ‘Godfather’ or ‘Sathya’ and to leave a stamp of originality in his work, Selva recklessly runs loose with his screenplay, thrusting upon you twist after twist, each worse than the other, just so that he can beat you at the guessing game. Though he beats you at it every single time, you don’t really respect him as a filmmaker because he doesn’t do it well enough. So while there are many moments in the second half that almost show his class, he ruins it with his inherent crass sensibility. Dated ideas like baddies threatening to throw baby from the second floor doesn’t seem to gel in a film that sometimes looks far more sophisticated, especially the bit when Kokki’s rival on getting cornered, quietly reaches for his drink and meal (watch the scene and you’ll know what I mean), intrigues you enough before ruining it all over again with another anti-climax.

The anti-climaxes are many. The final one, though grossly, politically incorrect, is the redeeming factor of the second half.

But then, that’s vintage Selvaraghavan: Good cinema gone wrong.

Review: Fu… Naa!

May 28, 2006 · by sudhishkamath

F***! Naaaa!!

It can’t be true.

It’s like someone pissed all over the RDX and the explosive potential simply goes down the drain.

Agreed Aamir and Kajol are really good but unfortunately, there are more things to cinema than what two actors can do even when you wake them up in the middle of the night.

I just came back from the movie with a very uneasy feeling in my stomach: Whatta huge fuckin waste of a plot!

What could’ve been an intense quirky love story on the scale of ‘Dil Se’ is blinded by a blizzard called The Complete Works of Aditya Chopra and Karan Johar, replete with Antakshari, the annoying cute kid who stops just short of saying ‘Tussi Mat Jao,’ the moment in the rain, Shah Rukh…ooops Aamir thrusting his blessed nose in Kajol’s bosom, the tree that dropped leaves in ‘Mohabattien,’ Farida Jalal… ooops Kiron Kher doing a DDLJ moment, mush, corn and a sack of salt.

‘Fanaa’ was destroyed not in love but right from its inception, in fact right from the title
(You can’t make a film like ‘Fanaa’ unforgettable by just making sure the word ‘Fanaa’ appears 352 times in the film), incredibly unconvincing screenplay (maybe the writer bunked the plausibility and logic class in her screenwriting course), clueless direction (Either Kunal Kohli was smart enough to put the cockroach as a metaphor or was THAT what Anti-Terrorist Squad officer Tabu was after for nearly half an hour after that scene while the terrorist goes singing in the snow and tongue-twisters at that) and even worse editing (agreed Ravi K Chandran comes up with beautiful haunting frames but if you’re gonna keep all that he shoots, your next film will be 10 hours long).

Despite its hurried, slightly flawed ending ‘Dil Se’ was infinitely superior cinema. In fact, it was almost a classic. Hell, it was a classic. ‘Fanaa’ just gives ‘Dil Se’ to new heights.

I don’t want to ruin the only good thing about the movie in this review: The plot, cursed to rot in hell.

So find out for yourself.

Before some psycho/good samaritan smses it to you. I’m switching on comment moderation for this post to avoid spoilers.

P.S: The best part of the experience for me was getting to see the promo of ‘Kabhi Alvida Na Kehna’ and what can I say? It looks like Closer doused with the Karan Johar-Aditya Chopra treatment.

P.S 2: Aamir Khan should retire playing young loverboy (‘Rang De Basanti’ seemed to be a nice swan song to such roles) or get rid of that double chin and the excess fat on his face. The two and a half years he spent on ‘Mangal Pandey’ could have surely been more useful. But I have to say this much: Aamir has balls of steel to play a role like this, that too right after ‘Rang De Basanti.’

Blank Noise Project @ Besant Nagar Beach Today!

May 28, 2006 · by sudhishkamath


Sorry about this late an update, been a little busy.

There is a Blank Noise Project intervention this evening at Besant Nagar Beach. We meet at 5 p.m. at Planet Yumm before the performance.

About eight to ten women will participate in the intervention by hanging out at the beach doing nothing, staring back at people and handing them testimonials (accounts of sexual harassment taken from the blank noise blogs). The guys will distribute pamphlets.

We need volunteers. The more the merrier. This is a nationwide event. More details here.

Calling Communication/ Film Freshers!

May 24, 2006 · by sudhishkamath


Warning: Mistress of Spices is injurious to your taste buds!

May 19, 2006 · by sudhishkamath

Sathyam has a new scheme called Blind Date where they invite you for a mystery movie. They do not tell you what’s the movie you are watching till you are in the hall and have filled up the lucky draw form where you have to guess the movie.

It does sound like an exciting idea, given that you will see the premiere of an unreleased movie before anybody gets to watch it and with celebrities. Hope Sathyam continues this with better movies and a celebcrowd.

Because, when Blind Date happened yesterday, I really wished I were blind.

Lessons to learn from the Lok Paritran experience!

May 17, 2006 · by sudhishkamath

It is indeed unfortunate that the fledgling Lok Paritran has split, and this is not a good thing for hundreds of youth from the city who slogged their ass off to campaign for the party. This is a big blow to youth like Praveen, Incognito and their desire to change the system.

It’s a combination of internal politics and inexperience that has led to this huge setback and it remains to be seen if the party formed by former IITians will stand the test of character.

A friend recently brought my attention to this blog that claimed to be an expose on the LP founder Tanmay Rajpurohit. It is indeed a pretty well studied analysis but the fact that the author has not allowed comments makes one suspect foul play and malice.

When I did my first interview with these guys, Tanmay did tell me he was a mainstream politican party worker for a brief while and he quit it because it was corrupt. He had then refused to name the party because it was irrelevant and I had told him that it would some day surface. He just smiled then. I doubt if he likes these accusations now.

Going by the “expose,” it turns out that maybe it was the right-winged party known for its hidden agenda and Hindu fanaticism that he once worked for. But the important point here is that HE USED TO WORK FOR IT.

While WHAT ONE USED TO think in the past may not be all that important with the formation of a new party based on a development and growth based ideology, it is important to identify the DNA of a party.

Knowing the roots helps people become a little more aware of what the party could grow into. The transparency which the party promised in governance was missing in the DNA.

In hindsight it does seem to be a bad decision to rush into action by interviewing wannabe do-gooders, without really having any clue of how trustworthy their selected candidates were.

When I spoke to Elanthirumaran, State party president, when he was chosen, I asked him if he had quit his job. He said he had taken a break. That is not what inspires party workers. But maybe the party trusted him enough. The dude did come across as a well-meaning guy with good intentions after all.

He along with Rajamany, the Anna Nagar candidate who got over 10,000 votes thanks to LP being alloted Captain’s symbol of the drum in the constituency, are the rebels who have alleged high-handedness of the party core group.

We from the media had a good enough reason to support Lok Paritran. They had the drive and raw passion clubbed with intelligence and good intentions. They still do. The main guys from the party had given up their lucrative careers to take a plunge into politics, had settled for hand-to-mouth existence and travelling by autorickshaws, rented small apartments far away from their homes and spoke very clearly about what they wanted to do and why they wanted to do it asap. “When you want to do good for the nation, the earlier you can, the better,” they contended.

Fair enough. Besides, we from the media knew that if we rubbished a fledgling youth party, no young person ever would want anything to do with politics. When most engineers were happy taking the next flight abroad, here was a group of committed young people. Of course, we had to support them. Like I said in my post asking for people to support LP, if you don’t encourage the first man who tried something good, how will you give the courage to those who follow.

In their enthusiasm, they swung into action, interviewed scores of people they did not know personally and found able candidates in Rajamany and Elanthirumaran.

Post election, they realised they were betrayed by the very people they trusted. All in the game. Every new party will have starting trouble, especially with the inexperience.

But this is now time to learn from the mistakes and start from scratch if they still intend to do good. The youth should not get discouraged by such setbacks. LP or any other youth party can learn from some of these mistakes.

First, LP or any new youth party needs to make their roots public, with past record in politics, even if it was just two weeks or two months in a party they no longer can relate to. If you promise transparency in governance, first demonstrate that within the party.

Second, LP or any new youth party needs a few management and communication professionals to handle administration of the party itself and to design marketing communications. A political party is like any other organisation, it needs to be run and expanded. Techies and geeks could do with management and marketing help.

Third, if you want people to vote for you, you need time to tell them you are around and demonstrate what you can do for them. LP or any other youth party should begin preparations for next elections NOW… not months before the next election. You need to reach out to the people, understand their problems and introduce yourself. Like what Captain did. Phenomenal work. And that did pay dividends… About 27 lakh people voted for a party based on one man’s hard work, 8.4 per cent of the total votes polled is phenomenal, given that even MGR took years to establish himself.

There is no substitute for hard work. Let the youth not give up this soon. It’s time to learn. And keep walking ahead.

All the best LP. I want to see you guys come through clean in your darkest hour. Given all your good intentions, I hope you don’t become an example of why the youth shouldn’t take to politics as many of your critics have said and will continue to.

He says She says: Episode 20 now out!

May 15, 2006 · by sudhishkamath

Never thought we’ ll have things to write and fight about every fortnight.

But yes, we just completed 20 episodes of our column He says, She says.

This time we fought over who’s funnier — men or women?

I’m sure all you guys who have read about Shonali’s meeting with John Abraham will know who makes you laugh and how. He he!

Episode 20: Who’s more funny?

May 15, 2006 · by sudhishkamath

He says:

A friend had this theory. He said men are funnier than women. They have this knack of making people around them happy. And not in the gay sense of the word.

Yes, we are NOT talking about the four men in the car who were feeling Happy until Happy got up and ran away. He he!

See, see… you say He He, not She She!

What I’m trying to say here through these really sad jokes is that men don’t mind playing the fool. They don’t mind being called the clown.

So my friend said: “Think of one person who makes you laugh the most.” I did. “Now, was that a girl?” he asked. And No, it wasn’t. I must admit here that I do have a few women friends who make me laugh. But only because some of them, like ‘She’, often are victims of the practical jokes.

I play on them and some others, because they do not know they are funny in a bumbling-goofy sort of way. But no woman is as funny as any guy can be. Being funny is a guy thing. That’s because men have a bolder sense of humour. They are more adventurous in going for the jokes. They can be quite irreverent.

Like Cyrus Broacha once said (like he would remember even if he did): The reason you find me funny is because I try hard. If I try 100 lines in an hour and you laugh at least 10 times, you find me funny. How will you be funny if you don’t even try?

That’s the problem with women. They like to play it safe. Yes, She would like to believe women are sophisticated and classy. But there is a difference between being witty and being funny. We’re talking about the funny here. Let me now demonstrate that women cannot be funny and can make you laugh quite unwittingly.

Read the following.

She says:

And that’s precisely the problem with men. Their dreadfully juvenile form of slapstick haw-haw humour. (No one says ‘hee hee’ unless they’ve just had all their teeth knocked out.)

Want a classic example of male humour? My ‘funny’ co-writer slunk off with my cell phone at a recent party, and text messaged a random collection of people, including official contacts, saying “I think I’m falling in love with you.” Now, about one dozen men are convinced I secretly carry the torch for them, and I’m getting exceedingly strange looks wherever I go. The last time he hijacked my phone, he messaged ‘Burp!’ to half my contact list. Think that’s funny? You must be male.

Hit yourself on top of your head with this newspaper for me, please.

Groan. Why must all men be boys?

The difference between men and women, when it comes to a sense of humour, is the fact that women are far more grown up. I know a number of really interesting women, who are simply hilarious when they start telling stories — a number of which, by the way, are centred around men and the ridiculous things they do.

Because, women are funny in an intelligent sort of way.

And it’s not always bookish humour. I went to a girls’ boarding school where an average prank took at least half an hour of careful planning, whether it was the creation of a bewildering ‘apple pie bed’, which included zanily folded sheets to confuse the victim, or midnight feast replete with talented mimicry. The equivalent at the boys’ schools was grabbing a junior and flushing his head in the toilet.

And that’s the difference between men and women, when it comes to humour: women are funny because you laugh with them.

Men are funny, because — well — just look at them.

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