Kaatru Veliyidai (Tamil) (2017)

 A self-centred macho fighter pilot;

An angelic, bold, yet, thoroughly smitten army doctor;

Kashmir on the brink of Kargil war;

A cinematographer (Ravivarman) who captures the snow-capped peaks, drab mountainscapes, colourful weddings and intimate indoor shots in spectacular visuals which are breathtaking in equal measure;

The Mozart of Madras bringing his A game and delivering aces;

A turbulent romance which has the potential for being a mature and captivating drama;

A master auteur who despite relying on several of his time-tested template tropes can present them in a refreshing manner that few could manage;

Sounds like the perfect recipe for an epic romance... Right ...?

Alas... If only life was so predictably rewarding...

Aditi Rao Hydari gets it pitch perfect across the entire spectrum of her emotional journey as Dr. Leela with just the right notes of confidence, madness, love and vulnerability. She is all grace and glows (perhaps, a tad too much) in every single frame in resplendent manner. 

Karthi brings in a valiant performance as the cocky, self-centered fighter pilot who could oscillate unpredictably between the extremes of a romantic to a ruthless, even cruel, chauvinist with smirk in those aviator shades. However, one could sense an undercurrent of unease in his portrayal of VC as if it is not a perfect match or perhaps, he couldn't convince himself of pulling this off.

One feels something is amiss and is lost in the process of translation from the written words to the wow-inducing visuals. The evolution of the romance as well as the character arcs, especially Karthi's is unconvincing and as a result, you are not connected to the characters or care for them, as you should.

Further, the entire stretch of scenes set in Pakistan appear contrived despite some well written voice-overs.

Ultimately, the movie could neither stir the emotions in you nor soar into the pantheon of great movies.

By the time the credits start rolling, it leaves you in a breathtakingly beautiful, albeit, an empty breezy expanse (kaatru veliyidai) - seeking more even as you find it is just a middling venture that has gone with the wind.

All that glitters...

A GOOD WATCH (which could have been so much more) !!

RATING - 2.5/5

RANGOON (HINDI) (2017)

Rangoon is set in 1943, when the British colonials in India were fighting the advancing Japanese and Netaji Bose's Azad Hind Army on the country's north east along the Myanmar border and a resurgent freedom struggle under Mahatma across the country. On this wide and raging canvas, Vishal Baradwaj crafts a love triangle involving a clutch of plucky characters. Rusi (Saif Ali Khan) a Parsi aristocrat and an erstwhile action hero whose career was cut short by an accident where he loses a hand and becomes a movie producer. Nawab Mallik (Shahid Kapoor) is jamadar in the British Indian army. And, then there is Miss Julia (Kangana Ranaut), a daredevil movie star who complements the incomplete lives of both these men. 

  

Kangana is fabulous as the pioneering action star of her times and is able to ace a role which is physically as well as emotionally demanding. She owns this part and explores its innocence, action, romance, confusions, arrogance, vulnerability as well obsession with aplomb. Shahid is excellent as the sincere jamadar Nawab Mallik who is torn between his mission and his love for Miss Julia. Saif is a natural as a bruised aristocrat who is driven to desperation to salvage his life and love slipping away. Of the competent supporting cast, the notable performances are from Saharsh Shukla as Zulfi, Miss Julia's make-up man and confidante and Richard McCabe as the British General Harding with a taste for Urdu poetry.

After completing his spectacular trilogy of Shakespearean tragedies with Maqbool, Omkara and Haider, in Rangoon, Vishal Bharadwaj presents an ambitious period drama set against the second world war and packs in a potent mixture of love, action, jealousy, deceit and more through lush visuals of Pankaj Kumar. 

Vishal Bhardwaj also excels as the music director as he delivers a background score that accentuates the moods of the movie even as continues his fruitful collaboration with Gulzar and the duo have come up with some wonderful songs. 

Rangoon, thus, presents quite a heady cocktail of fine performances, several stand-out sequences such as the conversation between Kangana and a captured Japanese soldier, both glib in their own languages, trademark humour, some great dialogues, superb songs and captivating cinematography. Yet, one feels that there is something amiss which stops it short of being a masterpiece that it seeks to be. The romance does not exactly set the screen afire, the narrative fabric couldn't consistently weave together the multiple strands, the length could have been a tad trimmer or perhaps, the finale could have been much more nuanced.

But, BLOODY HELL ... it, still, is a GREAT WATCH !!

RATING - 3.5/5

CLASH (aka ESHTEBAK) (ARABIC) (2016)

What is the essence of democracy ? Is democracy the best system for all countries at all times ? What happens if a democracy is denuded to a state where it is merely a form of majoritarian rule with scant regard for the rights and aspirations of its citizenry and especially, those of the minorities ? In such a case, would it be any different or better than an authoritarian regime ?

After almost three decades of dictatorial reign, when the government of President Hosni Mubarak was overthrown by the events following Tahrir Square in  2011, popular elections brought Mohammed Morsi of the Muslim Brotherhood to power in Egypt. However, his radical religious agenda drove a deep wedge in a multi-ethnic society and after a popular, violent uprising by his opponents in 2013, the army took control. This pushed the country on the brink of civil war. Egypt became a chaotic crucible and was enveloped in a season of daily protests on the streets between supporters of Muslim Brotherhood who felt that their democratically elected government was unfairly unseated and supporters of the army who sought an end to the fundamentalist regime of the Muslim Brotherhood.

The film captures one such day when protests break out in various parts of Cairo between these opposing factions. The entire movie is set and has been filmed within the confines of a police van which has been deployed on the street. While it starts with the arrest of an Egyptian born journalist working with the Associated Press covering the clashes along with his local freelance cameraman, the van is quickly filled up with a motley assembly of people cutting across the spectrum of age, economic status and owing their allegiance to either side of the ideological divide. Tempers fray with the supporters of Muslim Brotherhood and the pro-army group find themselves at each other's throats and find that their strength of ideological conviction is put to a litmus test by this sticky situation. As the cops try to shepherd the police van to safety traversing through treacherous streets of midtown Cairo filled with rioting mobs, the van - literally as well as figuratively - becomes a simmering cauldron ready to explode.  

While at an apparent level, it is a clash between competing factions which seek to wrest power, at another deeper level, it is equally a clash between ideologies that we espouse, which tend to define us and appropriate our entire identities with the basic ethos of humanity which resonate across competing and often contrasting ideologies, geographies or for that matter, any other divides. Thus, despite being set in Cairo, the movie strikes a near universal resonance, especially given the politically charged climes that we inhabit.

Director Diab's ambitious narrative is replete with frenetic riot sequences, sniper shootings, stonings, water canons, laser strobe lights and tear-gas clouds which are captured in full blooded intensity from within the confines of the van by cinematographer Ahmed Gabr's adroit handheld camerawork. Despite being a serious movie set to the pulse of a racy thriller, it incorporates a healthy dose of humour in the interactions and the inherent contradictions between the ideologies professed and the behaviour forced by the circumstances. It also underlines the enduring nature of humanity that triumphs over all obstacles like a stubborn plant which challenges and survives on the rock face even as there are undercurrents of anxiety which are lurking just below the surface and which are capable of unleashing the inherent animal instincts which are susceptible to be stoked by mob mentality. Diab populates the movie with engaging characters which we could connect to and the fact that his narrative shuns siding with any particular group enhances its universal appeal.

While the constricted confines of the police van creates a claustrophobic atmospheric through the entire movie, director Mohamed Diab ensures that the setting adds far greater value than merely being a gimmick. In a way, the confined space of the police van in Clash is also a stark metaphor of a country which stands on a precipice with little room to maneuver. A country which finds that a much vaunted political spring after decades of repression has failed to heal the fissures that divide the society. This has, in turn, resulted in deep distrust in each other, a sense of hopelessness and frustration which feed into a vicious cycle of acrimony and chaos that permeate this society. The movie is also peppered with instances where the occupants of the van display rays of kindness, humanity and humour which shines through the clouds of conflict that threaten to eclipse their inherent goodness. 

Clash presents a heady concoction filled with multiple ingredients that have come to define the times that we live in - chaos, hopelessness, frustration, mistrust and humanity which has the potential to shine through even the thickest veneers of ideological convictions that seek to derail our rationality.

Thanks to the universal appeal, Clash has received multiple laurels at film festivals across the world. It was screened as the opening movie at the Un Certain Regard section at the Cannes 2016 and was the winner of Best Film and Audience Award at the recently concluded International Film Festival of Kerala (IFFK),  2016. It was also selected as the official Egyptian entry for the Best Foreign Language Film at the 89th Academy Awards.

In conclusion, I couldn't agree more with Tom Hanks who has praised the film by saying - 

"If there's any way you can see Clash by Egyptian director Mohamed Diab, you must. You simply must. The film will break your heart, but enlighten all."

A MUST WATCH !!

RATING - 4.5/5

PELLICHOOPULU (TELUGU) (2016)

Chitra has just completed MBA and aspires to pursue further studies in Australia and become an entrepreneur. Prashanth is forced to pursue Engineering course by his father though he aspires to be a chef. He is also too lazy to chase his dream and seeks shortcuts to settle down in life. The movie takes off when the two protagonists meet accidentally during a pellichoopulu (a common Indian ritual where potential groom and bride meet along with their families). What follows is a narrative that presents a predictable story in an engaging manner with oodles of humor and very relatable situations.

Vijay Deverakonda is authentic in his portrayal of Prashanth who is used to the daily taunts from his father and would prefer to laze around seeking simplistic solutions without a care. Ritu Varma, with her sparkling presence lights up every frame and is pitch perfect as the ambitious Chitra who is at ease in conveying a wide range of emotions. They share an easy chemistry and are ideal foil for each other which make them instantly likeable and keeps the viewers invested in how they fare. Besides the leads, the movie benefits from a competent set of supporting cast who register their presence even in the smallest of roles and adding to the funny situations. Composer Vivek Sagar has provided some good songs and adds value with his background score. 

Debutante director Tharun Bhascker Dhaassyam has made a breezy romcom which checks almost all the right boxes a genre which is mostly messed up in  narratives that are mired in melodrama or mindless action or other "masala" elements. His competence as an engaging storyteller is evident in the way that he strikes a fine balance in presenting the multiple threads of understated romance,  aspirations of girls which are often ignored or even trampled upon as well as the casual attitudes of a section of youth Wei fail to follow one's dreams due to their lethargy and seeking easy solutions, family bonds without getting preachy or melodramatic and constant flow of jokes which do not feel forced.

With an entertaining first feature, Tharun has announced his arrival as a film maker to look forward to. 

AN EXCELLENT WATCH !!

RATING - 3/5

DANGAL (HINDI) (2016)

Director Nitesh Tiwari and Bollywood's perfectionist, Aamir Khan's sports drama Dangal is a clear winner despite its imperfections. Aamir Khan's brilliance in transforming into Mahavir Phogat sees him embody the role at every level. While his dedication and hard work is apparent in the the muscular physicality of the initial sequences, the flabby bulk for the rest of the movie and his embracing the mud and grime of the ring and making the strategies and technique utterly convincing, his acting chops shine through in scenes in which he trains his daughters with a steely resolve playing a ruthless, if not cruel, coach, his wholehearted celebration when he sees her triumph at various levels and those silent moments of frustration and helplessness when he sees his daughter losing focus and going astray or even in the final sequences when he struggles to witness the final match.

Even as he towers over everyone else, the stellar supporting cast too ace their roles including Sakshi Tanwar as Phogat's wife who supports her husband despite her persisting doubts on the path chosen by him, Ritwik Sahore playing the young cousin Omkar who becomes sparring partner for the girls, Aparshakti Khurana paying the older Omkar who is the narrator, Mahavir's aide and adding to the amusement, Zaira Wasim and Suhani Bhatnagar who play young Geeta and Babita going through the grueling training regime, Fatima Sana Shaikh playing the older Geeta and Sanya Malhotra playing the older Babita. Fatima brings in the required intensity, athleticism, innocence as well as vulnerability in the role which sees her ascent, sense of innocent awe at the glitzy world outside her village, losing focus and finding redemption.

One can see that a lot of effort has gone into making the bouts look authentic, yet thrilling at the same time. On the flip side, Dangal is flabby by at least twenty minutes, the characterisation of the national coach is more of a caricaturish villain, it plays to the jingoistic gallery with its anthem adjunct, as well as the contrived climax.

Yet, Dangal rises above these niggles, thanks to a star who effaces himself to be the character and sincerity that permeates almost every frame of this venture which makes it a winner.

It may not soar high enough to be the epic Olympian gold it seeks to be; Nevertheless, it is an international gold, albeit at CWG, which is well won !!

RATING - 3.5/5

A MUST WATCH !!

AMERICAN SNIPER (ENGLISH) (2014)

While widespread trail of death, destruction and displacement are the visible effects of war, its real brutality is in the less visible, or often invisible, albeit pronounced effects on the psyche of those who survive. For, it is they who have to live with the scars of war, picking up the shards of their shattered life. As against those who die and are consumed by the war, the survivors face the pain of death on a daily basis as they are relentlessly haunted by their commissions and omissions which could have made a meaningful difference.

In American Sniper, veteran director Clint Eastwood narrates the real life story of Chris Kyle (an excellent Bradley Cooper), an ace marksman of the US Navy SEALs, who in his four gruelling missions during the Iraq war, is credited with more than 160 confirmed kills - the highest ever for a sniper.  The film is largely set in the wreckage of Iraqi towns where the invading US marines had to engage in deadly urban combat with deadly insurgents from the al-Qaeda. The nature of urban warfare necessitates the services of snipers like Chris Kyle who is perched in a position, far and high from the battleground, keep an eagle eye to protect his mates from any incoming threats. 

While this setting provides for several thrilling and action packed moments, especially when confronted by an Olympian sniper from the other side, the focus of the film remains firmly on the psychological aspects of the war on Chris - Why he came to be what he is and what is he going through..? Even as he is highly effective in his role as a sniper in the battlefield and is celebrated as "THE LEGEND", we find that the war quickly consumes his psyche entirely. He is unable to shift his focus away from it even during his well deserved breaks away from the war zone when he is safely ensconced in the warmth of his home with a loving wife, Taya (an effective Sienna Miller) and his newborn son. The battle continues to rage on in his mind and brings on a firestorm of guilt and helplessness that singes his very soul and almost upends his normal family life which was moving on an even keel. As the distant war continues to cling on to him like an unyielding parasite and can he quell the very real threat it poses to unleash a turbulence on him and his loving family...? Check out the movie to know the answers.
  

Despite being an one-sided narrative which does not care to focus on the other side, Eastwood's movie which has strong resonance with his earlier westerns raises difficult, yet pertinent questions about the whole idea of heroism and violence. And, in a beefed up Bradley Cooper, he has an actor who has embodied the character so deeply with all its vulnerabilities and nuances that makes this movie tick as an almost meditative exploration into the troubled psyche of a celebrated war hero.

A VERY GOOD WATCH !!

RATING - 3.5/5

FOLLOWING (ENGLISH) (1998)

While the greatest of journeys begin with the first short step, it is the hallmark of legends in the making that their brilliance shines through distinctly from the crowd even in those nascent steps. Such is the case of Following, the feature directorial debut of Christopher Nolan who is reckoned among best filmmakers of our, nay, all times. Before Nolan emerged as the master of the big budget brainy / psychological thrillers, he began his career with a spartan debut film which, despite its minimal settings, served as the harbinger of the great things to follow.

Following tells us the story of Bill (Jeremy Theobald), a young wannabe writer in London, who obsessively follows random people, supposedly to research / find a spark to kindle his writing. He makes stringent rules for himself on this activity which borders on a voyeuristic pursuit as to who to follow, for how long, etc. It is in the course of one such random pursuit he follows the charismatic Cobb (Alex Haw - (does the name of the character ring a dreamy bell deep in your mind ??)), a burglar and gets drawn to him when he discovers they share a similar passion for following strangers. 

Cobb persuades Bill to accompany him as an understudy during his serial burgling expeditions. Despite being a burglar, Cobb shows minimal interest in his victim's belongings and rather, appears to revel in the shock and awe of his victims when they return to find their residence burgled. Enamored by Cobb's attitude and style, Bill's lifestyle  undergoes a sea change as he dives deep into what he finds as an adventurous new world. When an enigmatic blonde, a violent gangster, a murder and some blackmailing are added to the proceedings, we have a potent recipe for a thrill-ride. 

Being a debut feature, Nolan did not have the luxury of any big studio funding which enabled his mega projects like the The Dark Knight series, Inception or Interstellar. Yet, operating in a shoe-string budget of roughly $6000, Nolan donned multiple hats as the writer, director, cinematographer, editor, and producer of this movie which he completed over the course almost a year as mainly weekends project with the home of his parents as the principal location. His actors, who had other weekday assignments, were put through a drill of rehearsals spanning six months before the filming could commence which is evident from their convincing performances. Nolan shows early symptoms of what is now his signature style elements of intrigue, non-linear narratives, dives into the depths of darkness inherent in human nature, crisscrossing chronologies which peel away at the mystery layer by, carefully constructed, layer even as he teases the viewer to guess and second guess with an engaging screenplay. Nolan's masterclass is evident all through as he constructs a captivating noir in elegant monochrome frames with some nifty hand-held shots. 

Clocking a crisp length of seventy minutes, this engrossing thriller is the earliest gem from a master when he chose to step out of the shadows. 

AN EXCELLENT WATCH !!

RATING - 3.5/5

P.S. - As a bonus, check out Doodlebug, a 3-minute short from Nolan, made in 1997. This telling short, again in his signature style, showcases the seeds of much more magnificence and magic that was to follow.