SinglePlex Reviews

Navalny (2022)

Window into the next 75 years of the world

[10/10 · 27 December 2023]

It's a mistake to think this is about Russia or a beef between Putin and a random Russian activist. Juxtaposed against the daily news, it is a revelation that contrary to our beliefs, access to real -time evidence, democratization of information, and overwhelming public opinion in favor of self-evident "justice" is no longer even slightly useful against the triumph of evil. On the contrary, you see in the movie that things that just a few years ago would've been in the shadows for fear of political repurcussions or international outrage are now openly executed and easily brushed off with constant misdirection, denial, and brazen impunity. Navalny is not only in jail but there is no light at the end of the tunnel to suggest anything can prevent his sham trial.

If you disagree with the political rulers, they have no reason to listen to you anymore. Between their troll armies, fine-tuned misinformation hacks, and 360 degree surveillance apparatus they can shut you up, shout you down, or shut you in with ease. From folks losing their jobs for speaking against the relentless bombing of Gaza in US, the beacon of free-speech, to all the usual dissent -crushing in Belarus, Austria, Argentina, India, China, and everywhere else... is Russia and Navalny really all that unique anymore? The details and tactics may be different, but is the systematic dismantling of meaningful opposition unfamiliar to any of us outside of Russia?

With no "good side" left to fight a war, the next 75-100 years are destined to be exactly what the WW2 soldiers died to prevent.

Until then, watch Navalny of you get a chance. Streaming on Max for now.

Invincibles by Arbaaz Khan (2023– )

Surprisingly natural

[10/10 · 2 December 2023]

Arbaaz is a natural. His charm and genuine interest comes through even in conversations with family members, without the awkwardness one would expect. He's a much better conversationalist than he's been an actor. In fact he brings that up too, how he's not been as successful as his brother.

Arbaaz is a natural. His charm and genuine interest comes through even in conversations with family members, without the awkwardness one would expect. He's a much better conversationalist than he's been an actor. In fact he brings that up too, how he's not been as successful as his brother.

Worth a watch.

Tango Charlie (2005)

Underrated classic

[7/10 · 15 July 2019]

Even 14 years ago when the nation was way less polarized than it is now, a film examining the ugliness of perpetual war with certain communities within India and the disillusionment with the military-industrial complex did not impress the fragile nationalism of 'patriots'. It is no wonder that this film isn't to be found even on streaming services, that have resurrected gems like 'Kidnap' and 'God Tussi Great Ho' from the same period. Much like "Green Zone (2010)" that asked similar questions about US intentions and actions in the perpetual war in middle east, neither critics nor audiences had any love for either of these films. Funnily enough, attacks on the bureaucracy are not taboo as evidenced by the success of films like 'Enemy of the State' or 'Minority Report'. It's the military that's usual sacred. Only wanted to put it out there for any fans of this film, that you're not alone. I felt both TC and Green Zone were well written, tightly plotted, very well cast (especially Kelly Dorjie in TC) and quite entertaining. Politics aside, they are competent films with earnest performances. If you get a chance, watch it and share your opinion here

Final Solution (2004)

Balanced and sane look at insanity

[10/10 · 26 November 2013]

India is no stranger to religious violence, nor ban on films that seek intelligent introspection of those events. What makes it different this time, is that the leader behind the genocide is neither shadowy (like the grand old party) nor limited to a small region (like the Tiger). He is rather upfront about his actions, intentions, and frustrations. His diatribe is coated with brilliant oratory, his exhortations are served with a dash of sarcastic humor, and his pride at "cleansing" those who'd hurt the "MotherLand" is infectious. As he's proved with over two decades of elected mandate, and effortlessly crushing any opposition and opponents to his crusade, his force is not to trifle with.

The Final Solution by Rakesh Sharma, thankfully available in good quality on Youtube (for now), is also important at this point in history because we're on the verge of electing our new Prime Minister. Unfortunately, hate-mongers find it easier to exploit the polarization in society and gain ardent followers, rather than those who talk about peace and concessions. It is very easy to divert attention from the broken hull and instead claim that throwing a few people overboard will keep everyone afloat. By the time people realize it didn't work, and that everyone is drowning, it is too late. The shock value of Final Solution, to me, was not in how the administration perpetrated genocide; rather, it was in the honest, widespread and, indeed, CASUAL acknowledgment by the majority community: "Yes, we did it. So what? They had it coming...". Somehow, Modi's fiction has found its audience-- and not just in Gujarat. People are willing to suspend disbelief, and overlook obvious plot-holes, to live that dream where everything will be OK once the Muslims are eradicated.

The tales of human tragedy, the families split apart, the generations wiped out, the mutilated bodies are heart rending, yes. Even more is the way mobs attacked different parts of the state at the same time, in almost every case, accompanied by cops to make sure no one escapes. The few voices of dissent and sanity were killed, by questioning their patriotism or politics. Proved crimes, such as recorded speeches or fake encounters, were simply ignored till the public forgot.

The Final Solution is not a chest-beating apology for the minority. It is a gripping and honest record of what happened. At no point does it demonize Modi or his cronies. You draw your own conclusions from speeches they never deny making. That's when you feel that cold shudder down your spine.

He could be the PM one day. The dread sinks in that the parallels with another such brilliant and deadly figure in history is no exaggeration.

Veep (2012–2019)

Dud!

[4/10 · 4 February 2013]

I know this has been debated to death, but couldn't help sharing my disappointed 2 cents. The only people who would think Veep is awesome are people who have either not seen or not understood "The Thick of It". I agree it is not bad. But even worse than "The Office" remake (which I actually like), the very obvious sitcom treatment is jarring on the Veep. The brilliance of TTOI lies in how it almost feels like a real documentary, and real ministers, and real office environment tackling real crisis in ways that end up looking funny to an outsider. But 'in the thick of it' (pun unintended), it is all serious business.

On the Veep, everyone seems to be acting out their lines for laughs. It's more of slapstick, with rather bad acting and twists that can be seen from miles away.

I am glad Veep got renewed for a second season, hopefully it will get Armand some recognition. The only way to ingratiate yourself with US media is to join them in shouting louder that their remakes are better until any other view is forgotten (Taiwan's "Infernal Affairs" versus "The Departed" being a case in point), so Armand did better than Gervais there.

But for me this was a major disappointment.

Love Aaj Kal (2009)

A beautiful, contemporary story

[8/10 · 31 July 2009]

What makes this movie special is really the fact that it is a Saif Ali Khan movie. Yes, it is his first home production. But more importantly, it marks an unbelievable evolution from that gawky embarrassment we saw in "Aashik Aawara (1993)". Although he has proved himself in Dil Chahta Hai and Hum Tum earlier, for someone who grew up watching his initial movies it is difficult not to be awed by his resurgence. Like Abhay Deol, his choice of stories recently has been more commendable than his performance (which too, now, would do his mom proud).

Love Aaj Kal is made in the Imtiaz Ali genre, picking up where his first movie Socha Na Thha ended. It feels like a sequel of sorts to both SNT and Hum Tum, with bits of inspiration from "When Harry met Sally" and another Chinese film I saw referred to on IMDb. Yet it manages to weave a beautiful story across two eras, interspersed with songs you simply have to hear again and again.

As always, Imtiaz treats the locations as another character. The foggy Delhi of 1960s, the historical Delhi of 2009, the melting pot of London and the undulating streets of San Francisco--- they all form an indelible part of the story. While some of the non-Indian characters are reduced to caricatures, don't Hollywood films do the same to non-American characters? :-) Performances are good, especially from the Saif in 1965 and his girl Harleen. With very few dialogs in that part of the film, the actors must act with their eyes and this is where they do a great job. Rahul Khanna is wasted (yet again) and Rishi Kapoor lights up the screen the way he always does.

I recommend you go see this in the theater and relive your first 'break up party'. Then, if you like it, I seriously recommend checking out 'Socha Na Tha (2005)' to see Imtiaz work before big-bucks box office beckoned.

99 (I) (2009)

I have a theory about films... they should all be THIS much fun!!

[7/10 · 18 May 2009]

The first question I have for Krishna DK, Raj Nidimoru and Anupam Mittal after watching "99 (2009)" is: "Why did you starve us for 6 long years since your last epic "Flavors (2003)"?".

Like their previous work, "99" is pure brilliance with a tight plot, jokes that work and pop-culture references that make you go "A-ha!". In other words, a MUST WATCH. The packed house at PVR on a weekday late-night show is testimony to that.

Kunal Khemu is an under-rated actor in the mould of Abhay Deol. Luckily, the latter has found his groove with the last couple of releases. Kunal is still stuck at 99 (pun intended), despite excellent nuanced performances in some excellent but forgotten films like "SuperStar (2008)". He has an easy charm and superb comic timing. At the same time, his vulnerable eyes poke through your heart during the tragic scenes. I really hope he breaks the jinx of successful child actors (like Urmila Matondkar, probably the only success so far).

This movie also enjoys the acting talent of powerhouses like Boman Irani (who started in similar Indy films like "Let's Talk (2002)" but now needs no introduction), Mahesh Manjrekar, Amit Mistry (a bonafide superstar at Bombay's Prithvi Theatres) and Cyrus Broacha. All these guys have significant theatre experience and it shows in their comic timing, body language and diction. In smaller roles, the bhojpuri actor and the sidekick provide many laughs with their natural presence. Among the ladies, Soha and Simone are important to the plot but don't have any spectacular scenes where they get to shine.

So here is my second question to Krishna DK, Raj Nidimoru and Anupam Mittal: "Why didn't you repeat the ravishing and very funny Pooja Kumar from Flavors, in the role of (who else?) Pooja?". She'd be so purrrfect-- and a treat to watch.

The production is very well designed. The movie is set in 99-2000 and it almost feels as if that is when it was shot. Be it the film hoardings across the city (imagine "Kaho Na Pyar Hai (2000)" blocking the skyline, for chrissakes!), the mobile phone models they use, the cars they drive or their amazement at the advent of "cyber cafes"--- this could well be one of India's first period films (NOT about the Freedom Struggle)! If anything, that's one award it deserves for sure. The background score is also well used and adds to the tension/fun of the chase.

As for the story itself, this is a chase/heist movie in the genre of what Guy Ritchie does. The two losers are on the run from everyone, with their IOUs adding up faster than Sachin's centuries. Their misfortunes and bravado makes for some very comic situations, without resorting to any toilet humor (well, almost) or Priyadarshan style confusion-climax. The audience kept laughing and clapping all through. Especially loved were the Bombay versus Delhi references (the cities are known for their cultural rivalry and pride). The movie is peppered with cricket metaphors, delivered in Cyrus's inimitable style. Cricket forms an important part of the plot and it is made by true lovers of the game.

Even though it reminds you of many Hollywood films, it is not a copy but in their genre. This slight difference sets it apart from the 99% junk that Bollywood ends up celebrating annually with the likes of Anees Bazmee, Priyadarshan, David Dhawan and Hansal Mehta. So here's my third question for Krishna DK, Raj Nidimoru and Anupam Mittal: "Agli picture kab bana rahe ho?"

Watchmen (2009)

Great cinema!

[7/10 · 4 May 2009]

This is a wonderful piece of cinema. As a comic-book turned into film, I found it even more satisfying than "300 (2006)". Zack Snyder has the rare ability to humble himself before the original artist. He works like a converter, giving life to the comic book pages without adding any interpretation or look-at-me moments of his own. Every frame looks exactly like it does in the books. More importantly, he did not get tempted to "modernise" the story. Retaining the Nixon, Vietnam and other references kept the story real for both fans of "Watchmen" and people who have only heard of this classic.

The only group that seems to have trashed the movie are journalists (no surprises there!) and people with no prior context of the book-- neither as art, nor as a statement. They tended to equate this with the usual Spiderman and Power Rangers variety of comic-book films, concluding that this movie came out wanting. I came here today when I read a reference in a Wolverine review, comparing its poor reception to the dud that was Watchmen. Gee, how they missed the point!! Wolverine was just lazy film-making, a badly made film with no story/plot/point. Merely squeezing what they could from the stale franchise. Watchmen, on the other hand, is a well-made movie with painstaking attention to detail and incredibly faithful to the source. Comparing the two only justifies the closing of newspapers across the US-- traditional journalists do not seem to go beyond the official Kool-Aid. Whether it is movie reviews or supporting the Iraq war, they merely parrot what appears to them as the "acceptable" view.

Watchmen is a great movie and a must-watch. By anyone over 16 :-)

Dil Kabaddi (2008)

A refreshing no-holds barred take on DINK marriages

[8/10 · 11 December 2008]

Dil Kabaddi is another "event" that fills the heart with joy. Just to see story-tellers (and not just star kids and diamond merchants) get a chance to create real cinema in Bollywood is so heartening. We loved this movie and so did the half-empty PVR audience, median age 35, if the constant eruptions of gleeful laughter are any indication.

Unlike many good attempts, Dil Kabaddi does not falter in the second half simply because the director had a POINT to make. Maybe he has Woody Allen to thank for it, but this did not become a montage of slick shots against Mumbai's backdrop. All the humor and all the "slice of life" shots told a story. This is where the movie truly scores.

The other reason for its success, of course, is the excellent casting and performance. Each character was well-etched, including the "almost correct" English grammar and "avant garde" dress sense of Samit. His pairing with an intellectual, stylish, smart Mita is not that surprising in today's aspirational India-- a lot of successful women are truly happy with a less successful husband. I also liked the minor characters of ex-boyfriend, office hunk and Chirag the lech neighbor. Their body language and motivations reveal a well-written character as part of the screenplay. Something so rare even in mainstream Bollywood cinema. Ditto for the sex-jokes; they were much more tasteful than what is dished out in family-comedy "U" rated movies every week. That said, the "Kaaya" character could have been better etched.

Perhaps the movie targets a very specific audience, the mid-30s Indian, that grew up on Karan Johar's bubble-gum romance in the 90s and are "happily" married for 4-7 years now, like the characters in the movie. It is possible that this crowd will laugh the loudest, while those older and younger may find less to identify with in this story. They may yet discover it on DVD a few years later and laugh hearty. At its core, it is a story about our quest for love and our failure to recognize it when it happens. A tale of finding love versus our 'fantasy' of love.

While some have panned the movie for it's shameless copy of Husbands and Wives by Woody Allen, others have cringed at the barrage of sexual jokes and innuendo. In my opinion, it works where Mixed Doubles (the previous multiplex outing about infidelity) failed simply because it does not hold back or have any intellectual pretense. The movie keeps you laughing almost the entire time and yet makes an honest observation about modern Indian marriages.

The fact that it holds true for India 16 years after Woody Allen's 1992 original is a telling comment on Indian society playing catch-up with the west. For better or for worse...

Kidnap (2008)

Not just KIDs, all of us had a NAP

[1/10 · 2 October 2008]

After Jaane Tu.. and Bachna... the expectations from an Imran-Minnisha film were sky high. Sanju baba, of course, is all-time dependable. Gadhvi has done some good work in the past-- stylish if not sensible. So we decided to fork over the weekend premium (250 bucks a ticket, including popcorn!) without waiting for reviews.

Bad idea. Gadhvi decided to follow, again, the all-style no-soul route.

**** May contain spoilers **** The film starts with the dialogue "Maine tumhe kidnap kiya hai" which made the audience erupt in laughter. Not an auspicious beginning for an alleged edge-of-seat-thriller. We decided to give Imran time to find his bearings. Unfortunately, the dialogues kept getting more mundane from then on. It competes with Sarkar 2 for the year's dullest dialogues. (We so hope Sanjoy watches this movie, he can do another killer review!!) Vidya Malavade, the hot babe from Chak De, plays Minissha Lamba's mom in this one!! The casting director must be on drugs. Sadly, this may end Vidya's career, though Lamba looks way older than her. Lamba, on the other hand, is on a mission to establish a sexy image. She appears extremely uncomfortable in near-nothings-- not just in songs but even when she is supposedly in captivity. The costume designer was definitely high. She fails to realise that sexuality is not just in boob-shows but comes as a package-- the facial expression, the body language and the come-hither eyes. There was none. She looks as arousing as the mannequin being changed in a shop window. She tries too hard and wastes the goodwill created by the Bachna... role. Plus the fact that even though her role is pivotal, she hardly has anything to do except mouth dialogues fit for a 7 year old and remain undressed.

The acting by Imran Khan is first rate again and I do hope to see him bag the Oscars one day, in footsteps of his uncle. He is a sincere and fiery actor lost in an oddball script. Sadly, the screenplay is so awkward that his intense dialogues appear comical. Whoever in the audience was not sleeping was busy hooting in amusement...

He did have a fun chase scene. Outrageous but well executed stunts. The only highlight of the movie, IMHO. Reminded one of Jackie Chan, wish they kept that tone for the entire film. Sigh! Now for my main problems with "Kidnap". Firstly, the revenge motive is thrust down your throat. The plot is as dark as "Zinda", yet the movie maintains a candy-floss feel throughout. You can easily foresee that every character is inherently good and every one had their "majboori". Ergo, everyone forgives everyone and lives happily ever after. For the hate that Imran's character carries for Sanjay Dutt's character, the latter should have been shown more as the "Dilip Tahil" variety. A typical rich, arrogant and ruthless person. The audience must also feel some of the hate. Yet, we always see him in a sympathetic light, we root for him. That makes the revenge hard to digest. Similarly, Imran's character should have been a twisted freak but he appears sad, almost as if he'd stop the revenge if someone said Sorry to him just once. He's a frustratingly good boy, performing evil actions. While that syncs with his character, it jars with the plot.

Secondly, it has some gruesome songs. Picturised badly, appear illogically and sound terrible. They completely halt the narrative and everyone looks so uncomfortable even doing them. Lyrics like "Mausam kya Awesome hai". Yikes! Sound engineering is quite good, on the other hand. The scene where Imran brings back Minissha after her escape attempt has fabulous background sounds.

Lastly, the climax, like most Bollywood films of late whimpers down after a cool build-up. Somehow our directors start to copy their latest DVD purchase, perhaps Richard Shepard's 1995 flop Mercy in this case, but don't have the patience to watch till the end. Or in some cases, like in Zinda, they are unable to stay faithful to the climax for cultural reasons.

Kidnap belongs to the "Anjaam" genre. It is so bad, it finds a cult following. It is a great movie to watch with a large group of friend, hooting and whistling. Just make sure you don't pay attention to the screen, else you will end up with a power-nap.

Aamir (2008)

Pointless

[2/10 · 11 June 2008]

I am surprised to be the only dissenter among an overwhelming majority of positive reviews for "Aamir". I do not fancy myself as a non-lover of serious cinema and I am all for experimentation with the craft-- be it theater, cinema or comics! "Aamir" failed to make the cut in my book, in terms of being *good* cinema.

***Probable Spoilers***

The best way to enjoy this movie is to not know ANYTHING about it at all. The slightest hints can be a spoiler because the best things about this movie are the beautiful location shots (how lovely they make Mumbai look on screen nowadays, starting with the adorable "Taxi No.9211" montage) and the starkly non-bollywood treatment. Very gritty, very real and extremely under-played. Not an iota of gratuitous action or superfluous plot-points. For these two alone, it could score a 10/10.

On the other hand, I give it a 2/10. There are three main reasons: 1. The film progresses like a thriller, throwing surprises and giving hints. One usually expects such cinema to culminate in some sort of "revelation". Such thrillers also beg a "motive" and a secret someone who was leading the hero all along. In "Aamir", the first 5 minutes give a feel of what the sinister shadow wants. The plot ("Using amateurs to carry out terrorist/assassination jobs and then eliminating them to leave a cold trail") has been done to death in Sanjay Dutt's movies. Money or threat to family are about the only two means of inducting these recruits. Given that, I was surprised that RK Gupta expected *THIS* revelation to be the "Aha!" moment in the climax. Worse, there was no other "Aha" moment, this was it.

2. For a thriller, the pace was excruciatingly slow. I guess RKG wanted us to feel the characters frustration and helplessness as time moved slowly but surely towards his family's doom. Even then, I would expect a man in a hurry to not pause and ponder before delivering every dialog, before making every gesture. Again, the slow build-up did not lead to a satisfying closure.

3. My final grouse is I failed to see the point of the writer. Did no one notice the number of people in diverse professions that seemed to be aware and implicit accessories in the act? To me, the story reinforced rather than negated the suspicion that many seemingly everyday Muslims are secret sympathizers to the terrorist cause. If everyone was in on it, how difficult would it be to entrap another innocent man to commit yet another bombing another day? For all the right intentions, "Aamir" fails both in its exposure of society's prejudice in judging a whole community for the isolated acts of a few-- as well in becoming a taut, entertaining cinema. A single man's sacrifice in a story that envelops many thousands, in my opinion, has a hollow ring to it.

While the "it takes ONE to start a MOVEMENT" theme is pretty cool, it stays rather diluted in "Aamir". This belongs to the genre that believes serious cinema equals obscure but all worked-up cinema.

Like Stars on Earth (2007)

A children's film that would make Robin Williams proud!

[10/10 · 21 December 2007]

Being Aamir's directorial debut, one was sure of a didactic film. Somehow, Aamir never sets out to just tell a story or make a movie; the social message is never far away. He would almost be a Shyam Benegal if not for the dollops of humor he manages to sprinkle in his movies. The archaic belief that humor stains the "purity" of a serious message is the biggest mistake made, I feel, by "art movie" makers. A brilliant work like "Khoya Khoya Chand (2007)" was ruined by its droning pace and monotonic atmosphere. You look forward to Aamir's cinema because he uses humor, songs-- even pretty heroines-- to make sure his serious cinema is taken seriously!

The movie is straightforward. Tells the story of a misunderstood dyslexic kid who leads a tortured life till new Teacher Aamir uncle comes and makes everything OK. Everyone is sorry they treated him bad. Happy ending! Blah Blah. Hardly a spoiler, I'd say, but you'd been warned.

What I was not ready for was the dollops of tears that forced their way out of my eyes. I am a "Kill Bill" type of viewer and any movie with less than 100 explosions and 35 gallons of blood is usually not worth my while. Imagine my surprise when TZP easily squeezed those emotions I never knew I had. So much for "predictability"!

What makes it stick with you is the uncanny acting of the kid. I must commend Aamir's direction, in the absence of any other reason, to get so many kids to act so naturally. Move over, Mr.India! The repressed anger, the fear, the small joys and the yearning to belong. Ishaan displays everything so effortlessly it would put many matinée idols to shame. He manages all this without being corny or melodramatic.

Then there is Setu's photography that captures the tiny details we all remember having watched as kids. Then forgotten in the rush to to attend the next con-call. Like the ripples made in a puddle after a car runs over, the aggressive spray of shower in the bathroom, the miracle of watching "ice gola" being made at Juhu beach...

Finally there is Prasoon Joshi. The only reason one would watch this (like, RDB) many times over-- in theatres! Simple, non-complicated (Gulzarji, you listening?) and pedestrian lyrics. Stuff you can identify with, stuff that makes so much sense and yet sounds so poetic! Funny and sad at the same time. Added to Shankar Ehsaan Loy's music and Ram Madhvani's (of "Let's Talk" fame) cameo direction, each song tells a story.

The innovative start credits and lovely collage during end-credits are not to be missed. The movie got a standing ovation at the Bangalore theatre we visited, from a predominantly college crowd at that.

I hope it sensitizes Indian schools and society to treat all children as mere "children". We have to let them enjoy the colors and miracle of nature that adult life requires us to ignore. I loved this movie not so much for its message on dyslexia (although it makes a powerful statement) as for how it reminded me that I was a kid once. It reminded me how I wished those damn adults would just "understand"! I remembered how I'd decided to "remember" my childhood and not change into an "adult".

Now that I have a kid of my own, TZP is just what I needed to make sure I treat my little star with the respect he deserves and not as a "race horse".

Brazil (1985)

Beware of "Love Conquers All" version!!!

[10/10 · 29 June 2006]

I first read about "Brazil" on IMDb and was intrigued to find it at our local DVD store. Now usually that guy keeps only popular fast-selling titles, so I grabbed this title faster than you can say "Bra---". It was lying in my folder for about 3 weeks and I managed to see it yesterday evening. Quite obviously, no one understood this gem after a single viewing.

What bothered me, though, was the poor dubbing and choppy editing. Didn't seem like the cult-classic they said it was. Googling away I discovered that some nut-case stuio-head at Universal Pictures (I hope he suffered for his sins!!) decided to hack the movie and release it his own way. The 94 minute version sub-titled "Love Conquers All" is nothing like the Terry Gilliam movie. I write this review mainly to warn other unsuspecting buyers from getting conned.

Before buying, please ensure it is the 142 minute edit originally made by Terry Gilliam. It is also known as the Criterion Collection, it seems.

The LCA edit has a lot of rearranged sequences and over-dubbing to match the (lack of) vision that the studio head aimed to create. What you do appreciate is the awesome art direction, set designs and photographic tricks. Our future, though a little more slick, is not so very different from Gilliam's view of 20th century. We all live in matchbox sized houses, with broom-closet offices ("cubicles") and omnipresent paranoia. Anyone who disagrees with the official view of Terrorism is himself branded as one!!! Brazil deserves to be up there, in the Sci Fi hall of fame. It scores on multiple levels-- a brilliant comedy, a dazzling sci fi feature and a beautiful musical! See it after getting your dose of Fox News. You may not even notice a difference :-)

Apaharan (2005)

The League of Vaastav, Company et al

[9/10 · 16 December 2005]

At a basic level, "Apaharan" traces the evolution of Ajay Shastri (Devgan), an innocent lad being pushed around by the system to becoming the system himself. There are two influences working on him, viz, his father's Gandhian idealism and acceptance of corruption as a way of life all around him. He tries to escape the insult and exploitation that his father's idealistic stand begets him--- only to get insulted and exploited by the likes of Tabrez Alam (Patekar) who use him for their own purpose. Yet, Devgan's don is a reluctant hero. He takes to crime because as an honest and hard-working citizen, society treated him as a "freak"!

"Apaharan" then talks a State held at ransom by the greed and corruption of a system meant to protect it. It talks of the kidnapping of a child's innocence by a greedy system where merit has no role. It talks of society's resignation to the state of affairs and how we all give in... for there are no options.

What I liked about "Apaharan" is that it does not have any good guys and bad guys, nor does it offer any magic solutions. It tells it like it is. It shows every member of society as responsible for the decay-- right from the ministers to religious leaders to traders to teachers to the youth "experimenting" with crime at a corner tea-shop! At the same time, it is not a cynical story. It has optimism and power of positive action.

To believe that this movie has anything to do with Bihar would be entering a fool's paradise. Yes, it is set in Bihar-- although shot in Satara (Maharashtra), if one goes by the credit acknowledgment. Yes, it speaks of a situation that Bihar is going through. Yes, it uses a Bihari idiom and dialect to move the story.

The characters, their motivations and their reactions are not limited to Bihar, though. If that were the case, it would not find such a wide appeal.

Like all good cinema, "Apaharan (2005)" tells a story. That's it. And kudos to Prakash Jha for telling us an "art house" story with "masala potboiler" action. But for the trademark Prakash Jha finesse, this movie reminds one of typical Bollywood fare like "Vaastav", "Nayakan" and "Company". Good action and powerful performances!

Flightplan (2005)

As Yummy as Airline Food ;-)

[4/10 · 14 October 2005]

The problem with "Flightplan (2005)" is simply that it is a knee-jerk reaction to the audience demand for 9/11 inspired movies. Coming on the heels of "Red Eye (2005)", another turkey with similar theme, it runs aground despite Jodie Foster at the helm.

The movie was in the news recently with major American Flight Attendant Unions calling for a boycott of the film. The reason was that it portrays Flight Attendants and a US Air Marshall as terrorists. In the post 9/11 climate of distrust, this was not politically acceptable.

I love freedom of speech. To me, this protest reeked of the Indian malaise-- small time goons finding their 7cm of newspaper-space by protesting a movie a week. Be it Mangal Pandey's born-again relatives or thirsty pandits imagining impurities in "Water"... I cannot accept setting up an "allowed list of villains" which bans policemen, politicians, software honchos and any pressure groups to be shown negatively on screen. After watching this movie, I tend to disagree.

There is a difference between using Art as a medium to express a "different" view and being different for the "shock" value. "Flightplan" throws up a radical villain with no radical motives or plausibility. It doesn't have a comment on US Air Security policy nor does it reveal the complex engines behind such a grand conspiracy. All it thrusts upon us is the "last man you will suspect" cardboard villain.

I love Conspiracy theories. I'd willingly lap up a movie that suggests that Saddam Hussein is the real policy maker in the US Senate, or that General Motors caused the Hurricane in New Orleans. All I ask is some sort of logical cause-and-effect which leads us to *believe*. In "Flightplan" we are expected to just *accept* a grand conspiracy involving everyone from the Airline company to US Marshals and Air hostesses. The Great Cause is nothing more than $15 Million in a wire transfer. There is no political statement, no sadistic terrorist, no personal vendetta... not even a credible hijack! "Die Hard 2 (1990)" had a more credible plot. And that is saying something!!!! I love Jodie Foster. She makes you care for the character. She sucks you into the plot till the events are a personal life-and-death matter to the viewer. To that end, Flightplan works. There are a lot of loose ends all over the story. You don't mind suspending disbelief. You relish Jodie's outbursts and brainwaves and pain and joy. Never mind the confusion, you are sure it will all work out in the end. All the plot holes will be explained, the loose ends tied up.

It doesn't. They aren't.

To use bad puns, it is a joy ride while it lasts. It has action, emotion, thrill, drama and suspense. It even has luscious-lips Flight Attendants and morbid humor. Then begins the final descent into a crash landing. It ends as abruptly as it begins. What irks most is that the motivations are never clear, the conspiracy never explained and even the importance of the events not highlighted.

There are easier ways to hijack a plane. This was one helluva plan to ground the audience.

Verdict: Take the train, instead.

Tango Charlie (2005)

An episodic classic

[7/10 · 10 May 2005]

As Ajay Devgan says in the earlier part of the film, even if the entire platoon is killed fighting the insurgency in Manipur, it may just about make it to a column on page 13 of the national dailies.

The average Indian doesn't care about those dying daily in proxy-wars all across the Indian heartlands. The BSF jawans dying for that Indian, fortunately, don't care either. The rest of the movie makes you care... That is the story of ''Tango Charlie'', in a bombshell.

Bobby Deol is well cast as the lead character, who doesn t need more than 2 expressions to walk through the film shock and awe. India's answer to Keanu Reeves plays Tarun Chopra (aka Tango Charlie in wartime moniker). The story traces his innocent origins as a BSF jawan posted in the jungles of Manipur to the grim realities of the war in Kargil. I am still unsure whether anyone that has seen so much blood can retain the chocolate innocence Bobby does. He looks more like an MBA suited to an air-conditioned lifestyle than the hardened war-hero.

The production design takes all my awards. The producer has not flinched when it came to recreating the ravaged countryside. Be it the sylvan death-traps of Manipur or the period settings of Bengal, the riot-torn streets of Gujarat or the hostile snows of Kargil the viewer travels deep into the canvas. The theater I saw didn t have Dolby sound etc but we didn t miss anything. The visuals and soundtrack (background score by the criminally under-utilized Ranjit Barot) are enough. Direction and attention to detail by Mani Shankar is comparable to the best in Hollywood, with Indian Budgets of course ;)

Cameos by Sanjay Dutt and Sunil Shetty are a delight to watch. They bring an awesome dignity to a minor role, with glimpses of their post-Kaante chemistry. They are like sutradhaars , echoing the excitement and insensitivity of the viewers to all the insanity and gore. It could well degenerate into a documentary with the heavy theme and everyday violence, were it not for the irreverence displayed by these 2 characters. They make it easier for us to enjoy the film as a film.

The women, like all war movies, are required to add a third dimension to the hero. Like all war-movies, they are eminently forgettable except as speed-breakers to the narrative flow. Tanishaa is not Kajol, and that is a disappointment. Nandana Sen, however, marks her debut as the next hot Bollywood babe. Her moves on the deadly Devgan, while hiding from terrorists in a rain-soaked grotto, are not to be missed.

Kelly Dorjie is the surprise gift in this box of goodies. The menacing eyes and contented smile of this model-turned-actor haunt our dreams for many nights after-wards.

With absolutely no line of dialog and no time to develop his character, Dorjie has a daunting challenge to leave an impact. That he does, with a mesmerizing body language and subtle expressions that clearly display the ability and intelligence of his character. He is the quintessential Mowgli; an Olympian athlete; a teenage role model.

That he happens to be a villain is a matter of circumstances. He is merely a freedom fighter and should they win, history would treat him like her hero. Seeing the fluid movements of the guerrilla slither through the jungle, it is hard to believe this is his debut film!

In my opinion, Tango Charlie is a film about patriotism, nationalism and the futility of it all. Yes, there is a message. A strong one. But "Tango Charlie" scores because it is pure entertainment -- Hollywood style!!