JIGARTHANDA (TAMIL) (2014)

Karthik Subbaraj who received unprecedented acclaim when he dished out Pizza (2012) as his directorial debut has served us a delicious drink in his second outing. Jigarthanda tells the story of a short filmmaker Karthik (Siddharth) who comes to Madurai to develop a script for his debut feature based on the life of real life don "Assault" Sethu (an excellent Simha). He settles down with his friend Oorani (Karunakaran) and attempts to profile the life of this ruthless gangster for his movie.

The duo follow several leads and covertly try to get inputs from various associates of Sethu including some of his goons as well as Kayal (Lakshmi Menon) whose mother is an Idly vendor with Sethu as a regular customer. Though Kayal is smitten by him and even proposes to him unilaterally, Karthik, with his single minded intention of making his movie, merely pretends to be in love with her to access details about Sethu in the same vein that he tries to leverage the weakness of others.

After a series of quirky and hilarious twists, Karthik and his friend land in a monumental mess when they are caught red handed by Sethu spying on his activities. Sethu presumes them to be working with the police who want to finish him in an encounter. What follows is a roller coaster ride that keeps the viewer guessing with several surprises fused with the process of  how Karthik manages to make his debut feature.

Jigarthanda proves unequivocally that Pizza was not a mere flash in the pan and Karthik Subbaraj is an auteur to watch out. His skills in cleverly weaving a metamovie on the travails of wannabe directors within the fabric of what is a gangster flick on an apparent level are praiseworthy. The narrative is embellished with Tarantinoesque flourishes of raw violence and oodles of comedy even in sequences where they are least expected.

While Siddharth is impressive as the opportunist aspiring director with a singular  focus who pays scant regard to manipulating others for his goals, Lakshmi Menon is convincing in an unconventional, albeit minor part of a smitten lover who could throw a spanner at her beloved's dreams when spurned. But, Jigarthanda belongs to Simha who nails the part of  the dreaded psychotic don, "Assault" Sethu, oozing terror from his every pore. He straddles the entire emotional spectrum of this layered character from being ruthless and menacing to being darkly hilarious. His performance is the lynch pin of the movie and deserves several plaudits and awards that are sure to come his way. Karunakaran, as Oorani, is impeccable in his comic timing and goofy expressions.

Karthik Subburaj's detailing is impressive - be it the pulse of the city that never sleeps (Madurai) or in the eccentricities of the minor characters. Santhosh Narayanan's score is brilliant and accentuates the intensity the proceedings. Although the songs may not be stand out chartbusters, that blend beautifully with the flow of the narrative. Cinematography by Gavemic U Ary captures the proceedings beautifully in resplendent tones.

Despite its self proclaimed tag of a "musical gangster" movie, Jigarthanda's ambitions are much more chimeric. It is also an effective dark comedy, a con movie and above all,  an incisive satire on the state of Tamil cinema where the constraints of commercial viability continue to choke the creativity of aspiring filmmakers.

Yet, at a deeper level, it is the metamovie where Karthik Subbaraj, appears to convey, through his namesake protagonist, through what could well be his personal experiences before succeeding in Kollywood, that despite these challenges, all is not lost for the filmmakers who could master these murky waters if they dare to remain steadfast in their focus and could smartly use their sails to navigate to the shores of success.

The movie is not without its flaws, especially the length which clocks a little less than three hours, resulting in some bit of drag in the second half. While it could certainly be trimmed by at least fifteen minutes, I felt it would be more of nitpicking as what was on offer was definitely delectable.

Wildly imaginative, unpredictable and laced with loads of humour, this layered multi-ingredient beverage is a YUMMY offering from Karthik Subbaraj. A delectable & praiseworthy dessert to follow that delicious Pizza which whets our appetite for even more... Bring it on !  

A MUST WATCH !!

RATING - 3.5/5

INCENDIES (FRENCH) (2010)

While religions all over the world overtly profess a language of love and offer a path to salvation, it is not uncommon to find their teachings hijacked by fanatics and zealots who spew hatred and incite teeming followers in the name of God to commit ungodly acts. Many a war have been waged and scores of precious lives lost, maimed and scarred in the name of religion which preach a blind hatred of others. This is a story of a society and in particular, a family, which had to bear the brunt of a civil war spawn from such mindless religious hatred.  

Jeanne and Simon, twin siblings in Canada, are taken by surprise when their reticent mother dies leaving a strange will which requires to deliver two letters from their mother. Jeanne is to deliver a letter to her father whom they thought had died long ago while Simon is to deliver another letter to a brother whom they were unaware of. Simon is clearly reluctant as he considers the demands in the will as an unreasonable, if not, a totally irrational request by their mother whom he believed was demented. Jeanne, however, sets out on a journey to discover her mother's past and to find out her father and brother.

Jeanne's journey is interwoven with a parallel narrative arc which depicts the story of their mother, Nawal, in her youth in an unnamed Middle East nation (probably Lebanon) with simmering tension between the its Muslim and ruling Christian populace. Nawal, a Christian, falls in love with a Muslim from a refugee camp. When she discovers that she is pregnant, she tries to flee with her lover. However, Nawal's brothers confront them and kill her lover in the name of family's honour. Nawal's grandmother saves her from her brothers' wrath for bringing dishonour to their religion and clan. Nawal's grandmother helps her to keep her pregnancy secret and promises to assist Nawal in having the baby under the condition that Nawal would send it to an orphanage upon delivery and leave to a distant city for her studies. Nawal fulfills her condition and leaves her village to pursue higher studies in a university even as the newborn which is tattooed by her grandmother is handed over to an orphanage. At the university, Nawal is an activist during her studies and when the threat of civil war looms large, she forsakes her studies to look for her son to take him to safety before the onset of full blown war. 

The rest of the movie oscillates between these two parallel narratives of past and the present, separated in time by a few decades - Nawal quest for her son and Jeanne's quest to unravel her mother's past. Nawal's search for her lost son takes her ever so deeper into the heart of an unfolding dark civil war, where her life is tossed around by the belligerent forces like a helpless vessel in a terrible storm. Jeanne's search, on the other hand, reveals her mother's troubled past and the traumas she had to undergo before she left her strife-torn native for Canada. These two intertwining strands culminate in an exceptional, SHOCKING and INTENSE revelation in the finale. Playing the reticent, yet resilient and psychologically complex character of Nawal, Lubna Hazabal as Nawal provides the stand out performance which is compelling even in her intense silences. The rest of the cast consisting Melissa Desormeaux-Poulin playing Jeanne, Maxim Gaudette playing the reluctant Simon as well as Rémy Girard playing the notary Maître Lebel, Nawal's former employer and the holder of the will who guides the twins in their quest provide competent performances.

Canadian director Dennis Villeneuve helms this multi-layered movie (adapted from a popular play by Wajdi Mouawad known for its poetic flourishes) with the assurance of masterly auteur with potent visuals, sharp writing and a deliberate pace that keeps the viewer glued to every detail. Villeneuve's brilliance is manifest in the manner in which he has crafted an ambitious non-linear narrative that transcends multiple genres of drama, road movie, thriller and anti-war movie. 

Overall, this stirring movie is an exceptional ode to the triumph of kinship, togetherness and love which trump over the seemingly invincible forces of hatred. Nominated for Best Foreign Language Movie for the 83rd Academy Awards (2011) has also received acclaim in several international film festivals. 

A MUST WATCH !!

RATING - 4/5

HOW TO TRAIN YOUR DRAGON 2 (3D) (ENGLISH) (2014)

A rare sequel that succeeds in elevating a series to the NEXT level. One of the BEST 3D animations ever which delivers scintillating & immersive visuals.. 

SIMPLY SUPERB WHOLESOME ENTERTAINMENT for the whole family ! 

A MUST WATCH (in 3D) !!

EDGE OF TOMORROW (ENGLISH) (2014)

Edge of Tomorrow (EoT) is closer in spirit and content to a more recent movie called Source Code. While Source Code in itself was a well made sci-fi movie, EoT is more like Source Code - updated Tom Cruise Version with all the bells and whistles that one would expect with a Superstar reboot with thrilling action set pieces, loads of humour and a kick-ass female lead in Emily Blunt's Rita Vrtaski (aka Full Metal Bitch ).

If you like Tom Cruise, Go Watch it.. for he is back in form here - better than MI-4..

On the other hand, if you hate Tom Cruise, then you SHOULD watch this, for you can enjoy seeing him die literally N number of times ... :P

HIGHLY RECOMMENDED !!

RATING - 3/5

BEKAS (KURDISH) (2012)

Written and Directed by Kurdish director, Karzan Kader, Bekas (means parentless in Kurdish) is inspired by real life events which happened in Kurdistan region of Iraq in 1990. The movie narrates the story of two orphaned  shoe-shine boys - six year old Zana (Zamand Taha) and the elder Dana (Sarwar Fazil). While the young Zana is feisty, the elder Dana, on the threshold of adolescence, is more worldly wise. After stealing a few glimpses of Superman from a hole in the wall of a movie hall, both Zana and Dana are in awe of Superman's powers. At once, they intend to go to America, where they believe Superman resides, to befriend him and live with him. They also plan to bring Superman back to their home to punish their tormentors and to resurrect their deceased parents. Zana even makes a hit-list of his tormentors topped by Saddam Hussein. They fashion their own innocent - yet, innovative - solutions to overcome the real world constraints they face like arranging passports, funds or border crossings. For their transport, they procure a donkey which sports a BMW logo on its forehead and christened by Zana as (yes.. oh yes..) Michael Jackson. 

Thus unfolds a road movie which captures the eventful journey of its two young protagonists through a bleak landscape that is poised on the brink of war. In this journey, the young duo rendezvous with a bevy of varied and interesting characters representing a veritable microcosm of humanity in its myriad natures and predispositions. It is also a journey which would test and retest the resilience of their brotherly bond only to reinforce it stronger. There is also a minor sub-plot involving Dana's liking for a Helliya, a Professor's daughter.

Writer-Director Karzan Kader successfully juxtaposes the sparkling and almost immaculate innocence of his two young leads through their journey presented as a poetic pursuit of their dreams with the harsh realities of a world they inhabit which is torn by strife and poverty. In Zamand Taha (Zana) and Sarwar Fazil (Dana) who play the two brothers, he finds a set of non-actors who are complete naturals and play, nay, live their roles to perfection. They share a warm chemistry and charm their way effortlessly into our hearts. He peppers his narrative with several small characters which leave an imprint in the viewer - be it Baba Khaled (father figure), Mr. Osman (a friend of their father) or the old man they meet on the road.

Kader's movie presents his homeland as a place populated by essentially good and simple people who are roughened by the ravages of war, oppression and limited means. Cinematographer Johan Holmquist deserves a special mention for capturing the bleak landscapes with a surreal beauty.

A road movie that captures the strong bonding of love, affection and togetherness between its two young protagonists, this is also in equal parts a tale of hope, love and loyalty that is laced with delightful humour, moments of thrill, suspense, poignancy and warmth that is sure to tug at the viewers' heart.

Bekas was the opening movie at the Bangalore International Film Festival (BIFFES 2013) and has been appreciated at several international film festival festivals.

  

A LITTLE KNOWN GEM ! A MUST WATCH !! 

RATING - 3.5/5

HARISHCHANDRACHI FACTORY (MARATHI) (2009)

Last year marked the hundredth year of the Indian film industry. In these hundred years, Indian films, emerging from the Bollywood and is several sister (regional/local) "woods", have taken the masses as well as the classes on several memorable and entertaining journeys into the dreamworld. In his debut feature, writer-director, Paresh Mokashi traces the roots, nay, seeds of this thriving industry and presents the making of the very first Indian film.

Harishchandrachi Factory is the story how Dhundiraj Govind Phalke, the pioneer regarded as the Father of Indian Cinema, happened to get this idea of making movies and how he toiled to realise this dream of making of the very first Indian full length, Black & White, silent, feature film - Raja Harishchandra.

The story begins in 1911 where, after the failure of his printing business, Phalke is playing a magician/jester performing in his Mumbai chawl to make ends meet. When he happens to visit a tent theatre playing a movie - The Life of Christ, his imagination and curiosity are instantly kindled and he introduces his family to this magical experience of moving images, besides making multiple trips himself to understand the science behind that magic. His curiosity grows into an obstinate obsession as he follows his dream unflinchingly despite a brief bout of failing eyesight, he sets out to London to learn and understand this new age medium such that he could present the stories of the Indian mythology through it. On his return to India after learning the requisite skills and acquiring a motion picture camera, he embarks on his pioneering mission to make India's  very first feature length silent movie - Raja Harishchandra. The rest of the movie narrates the eventful journey and the many hurdles that he faces on his ambitious mission.

Presenting a biopic as a feature film is a challenging task as the director has to strike a fine balance in presenting the facts within a matrix of an engaging drama (as in the case of Rakeysh Omprakash Mehra's Bhaag Milkha Bhaag which found critical acclaim and commercial success). A singular focus on factual content would reduce the film to a drab documentary while too much focus on the drama could result in a clouded, less-than perfect image of the individual. Debutante writer-director Paresh Mokashi rises to this daunting challenge by helming this meta-movie with a very nimble hand and suffuses it with healthy doses of delectable humour. Mokashi shuns melodrama and mines humour in the most unlikely situations - be it Phalke's problems in funding his venture resulting in his selling domestic assets or his search for a heroine among prostitutes (since no family woman was ready to work before camera).

He hits the bull's eye with his casting of his leads as well as the supporting cast. Nandhu Madhav nails the part of Phalke with oodles of charm, curiosity and a single-minded obsession to realise his dreams despite the multiple challenges of cynicism, superstitions and paucity of funds. Vibhavari Deshpande playing Saraswati Phalke shares a genial chemistry with him and is a perfect foil as the loving wife and pillar of strength enabling her husband to emerge as the pioneer.

The movie also boasts of solid technical team which includes Nitin Desai whose art design recreates the authentic feel of a bygone era while the score from Anand Modak conjures a rustic charm that permeates the entire movie, beginning with the opening credits. The cinematography by Amalendu Chaudhary is remarkable too as he has striven to capture most of the movie in the style of stationary camera position which was prevalent in the infancy of cinema. 

Overall, Harishchandrachi Factory presents a very Indian story rich with its period feel, ethnic ethos, in a simple, feel-good narrative that is engaging and universally appealing. Harishchandrachi Factory was selected as India's official entry for the Academy Award for Best Foreign Language Film in 2009 and has also received several National and Regional awards.

Rating - 3.5/5

P.S.  - Beginning with this post, am introducing a rating of the movie on a five-point scale as suggested by some of my friends and readers of this blog. 

THE TERROR, LIVE (aka DEO TEREO RAIBEU) (KOREAN) (2013)

Its just another normal day in Seoul as the visibly bored host of a current affairs show on radio, Yoon Young-hwa (Ha Jung-Woo) discusses some recent tax changes with his callers. He is going through a tough patch in his life after being unceremoniously shunted out of a popular TV show he had anchored for several years and also the aftermath of a recent divorce. He is annoyed when a pesky caller refuses to disconnect and insists on airing his views. When he shows his impatience towards the caller, the caller threatens that he would blow up the Mapo bridge which is near the radio station. Yoon dismisses the claim as just another hoax from a prankster seeking his few minutes of fame from being on air and tries to move over to the next caller. Alas, he is shaken when a bomb detonates on the Mapo bridge leaving the middle portion of a bridge in a precarious state by disconnecting it from both the ends. This sets Yoon's mind racing and  he desists from following the natural course of reporting the caller to the police. He feels that interviewing the caller exclusively on live TV could well be a ticket to regain his erstwhile position as a premier TV show host. Yoon strikes a deal with his former boss who readily accedes as he too sees the call as a godsend to prop up the ratings of his TV channel which could fetch him more revenue through commercials. 

The caller, still online, raises the gambit by demanding a ransom to go live on TV failing which he would switch another willing channel for a similar exclusive. When Yoon and his boss accede to this demand and transfer the money, the stakes get higher as the caller demands the public apology of the President through national television for an industrial accident that resulted in the death of his fellow construction workers while racing against time to complete some repairs on the Mapo bridge. It is also revealed that the caller has planted more bombs including one inside the headpiece of Yoon which would be detonated if he discloses the same to anyone or if he tries to remove the headpiece or if he fails to follow instructions. Meanwhile the government machinery is afoot on a frenzy to shield the President and neutralize the threat to its credibility.

What follows is an intriguing cat and mice game between the caller, Yoon, his boss and a desperate government which try to outsmart one other.  Ha Jung-Woo (earlier seen in The Berlin File) playing Yoon, shoulders the entire movie on almost single-handedly and provides an impressive performance as he seamlessly transforms from a bored radio show host to somebody who has struck upon a career rejuvenating scoop and from someone in absolute control of the situation to a helpless prisoner trapped within the unfolding events. 

Most of the movie happens within the confines of Yoon's studio and is designed to give the viewer a feel of a regular daily TV news show which aids in connecting to the viewer and gives one the feel of watching the unfolding terror in real time. The result is an intense, express paced edge-of-the-seat thriller that keeps the viewer completely hooked for its entire running time of about 100 minutes despite a finale that feels a tad contrived.  

Writer-director Kim Byung-woo has weaved in a layered narrative which transcends being a taut thriller and explores several contemporary themes such as the growing moral bankruptcy of the media which sees ratings and money as its prime driving force resulting in a situations where most of the players in the media plumbing a fiercely competitive spiral seeking ever-more sensational stories, class struggles in a society riven deep fissures of income inequality as also the rising insensitivity of a state steeped in indifference towards the masses. Given the near universal resonance of its theme and its tense narrative, I wouldn't be surprised to see a Bollywood / local language remake / inspired version soon.  

A VERY GOOD WATCH !!!