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Reviews
Adaptation. (2002)
Ignore McKee; don't judge by the ending
Extremely profound, yet deeply self-indulging at times, Adaptation is difficult movie to explain. It is an easier watch than some of the other Charlie Kaufman's scripts as the story gravitates toward real life than the surreality that exists in Kaufman's writing. Adaptation, for the most parts, effortlessly blends the writer's own story with that of a superficial lifeless book about an orchid thief that intertwines with the life of the book's writer. While it may sound like confusing concept for a movie, the parallels between the story lines are well drawn. For about three-quarters of the movie, the story is tautly focused on the protagonist's writer's block and his less than adequate social life. These are the best moments in the film. The film takes a dramatic and a more mundane turn toward the end as the director, understandably, wants to drag it toward a ending with a moral. While the ending may be a letdown, it is hard to find fault with the movie simply for not being profound in the end. Ignore a little bit of self-indulgence and some tacky scenes in the end, the movie is well worth a watch.
Being John Malkovich (1999)
Creativity masks glaring flaws
Completely original, but blatantly violating the basic laws of film making, 'Being John Malkovich is a movie that invites you to laugh at its absurdity. i have no complaints with the plot. In fact, it comes along as refreshing and arouses anticipation of anyone who bothers to read the movie synopsis before watching a film. A surreal concept, which a portal to someone's brain is, requires that similar treatment in the movie. Yet, the portal is almost dismissed in the movie as being nothing more than commonplace and mundane. To see the director overlooking the essence of fantasy and instead weave a story on its fringe is sad because as viewers you are left salivating for the meaty substance that never comes. The acting is mediocre, and the scenes are patched together many times instead of a coherent narrative. The film expects to sell on novelty, but so many of natural consequences arising from an imaginative plot. The film is humorous at times, but overall feels like the director felt like he had a great idea and decided to sell that instead of making a film around it.
Se7en (1995)
Sinfully slow
Intentionally gloomy and unintentionally drab, Seven can be a difficult movie to watch for many reasons. The murders are shown and described in their most gory form. However, for a crime thriller, the movie moves at a surprisingly slow pace and the plot (beyond the brilliant idea of using seven sins) is almost too basic. Understandably, this movie was also to serve as a tirade against society and a critique of crime-ridden cities. But what the film loses in thrill value in achieving this is hardly justifiable, especially when the whole premise of this movie screams a feverishly fast and an intricate battle of wits. The film owes a lot of the accolades it receives to the 'brilliant' twist in the end. However, this film came at a time when the idea of a twist was a fairly novel concept. So, if you have sat though most of Chris Nolan's and Shyamalan's work before seeing this, you could out-think twist in this movie , and perhaps even expect it. That though is not the film's fault. It is watchable for its intriguing premise, good performances and subtle commentary. However, don't be surprised if it fails to fulfil your appetite for a real crime thriller.
The Dark Knight (2008)
Excellent for what it is.
Transcending the shallowness of most superhero movies, The Dark Knight is a brooding thriller that could very well be an excellent film even if its protagonist was a tough cop than a masked vigilante. For, the movie explores the flimsy psychological balance between good and bad which a crime-ravaged city and its citizens try to maintain. Perhaps, the greatest testament to that is the presence of villain who like possesses no superpowers but a sinister mind and careful planning abilities. In having an exaggerated, but very much human, villain (and hero), the film moves much closer to reality than a lot of films in this genre can. It is true that master director Christopher Nolan has to give into fancy action scenes to rudely break the psychological tension in the movie. And yet, a Batman movie with buildings blowing up and trucks overturning would be cheating the fans, even if these scenes could be dispensed. So while being completely realistic, The Dark Knight jumps into superhero style action that transports viewers back to a simpler times. It is a difficult balance to maintain and it has been admirably done by Nolan. Being 152 minutes long could be one grouse against this movie. However, the story is gripping and the action scenes come just at the right time. I thought I would be counting minutes toward the end, but was pleasantly surprised when I realized that not for once in the two and half long hours did I lose interest in the film. A part of the credit goes to Nolan much acclaimed story telling skills. While he is not as mysterious in the treatment of the story in Memento and Prestige, he intrigues you with very interesting scene construction. What stops the movie from being a defining crime thriller of all time is that Nolan, at times, has to succumb to the superhero clichés to bring a plot element to a convenient conclusion. Some scenes are too cheesy, especially the one with the two boats, which is inconsistent with the complex psychological dilemma between good and bad. The scene does nothing but preach about the inherent goodness of people even under crisis- a concept that has been beaten to death in Hollywood. Despite these small objections I have with the movie, I could not sit in the theater without how refreshing it is to have a movie like this. There is a good reason why the film has just blown people off their foot. It is a superhero movie that the world deserved for a long time. This is what Spiderman 3 should have been, but was not. Hancock promised to take the superhero genre in a new direction, but failed miserably. In fact, 'Batman Begins' set the stage for a film like and anything less intense or less disturbing would have been a step back for Nolan, who has presented a completely new understanding of Batman. With all due respects to Tim Burton, Joel Schumacher, Sam Raimi et al., Nolan adds an angle to the superhero genre that has not been tried a lot. By choosing a story littered with ethical complications, ironical decisions, complex human emotions and sinister villains, Nolan creates a movie that is so dark that it is scary. I would never be able to watch those harmlessly funny Batman cartoons without thinking about how dark someone has imagined this superhero to be. Dark may be an overused word to describe this movie, but that is the most accurate word. And if there is one thing, apart from the story, elevates this movie to this disturbing level is the Joker. His portentous shadow lingers in every scene of the movie even when he is not present in it. Partly because the character is so written to be so sinister and partly because Heath Ledger plays him with an eerie and a haunting touch, the Joker would be remembered as one of most scary villains in the Hollywood history. While all the other major characters play their part adequately, Ledger steals the show by adding those brilliant little idiosyncrasies to his character that makes him creepier, and thus, more real. However, the movie is dragged down by plot holes and requires leaps of faith that invariably comes with movies of such genre. Nolan, despite the new bold direction he may have given of the superhero movies of the future, has produced better work in the past. And that is no reflection how well he has directed The Dark Knight. It is just that, in my opinion, the thrill-a-minute spirit of The Prestige and crispness of Memento would have required a far greater effort. The Dark Knight may not be the best movie of all time, neither may it be Nolan's best movie (arguably), but it definitely is one of the best superhero movies I have ever seen.
The Number 23 (2007)
Tame as the enigma surrounding 23
Hardly scary and mostly tame, The Number 23 is a film that neither succeeds as horror nor as a thriller. The numbers and incidents indicating the enigma of 23 are so far-fetched that it is difficult to believe any of those. The film is better in the first half when the suspense is built up using some slow, but occasionally intriguing, storytelling. By the end, the director tries to pull a Nolan-esquire twist to turn the story on its head and turning the movie into a sub-standard affair. Too much time is spent explaining the twist, quite contrary to classic thrillers that invite the audience to use their intelligence (and imagination). There are some nail biting moments, but they are interspersed between too many lifeless moments to have any impact. Left completely at the whim of a placid story, the actors struggle to perform in any memorable way. While Jim Carey tries to carry the film on his shoulders, we have definitely seen much better performances from him (comic or otherwise). Too convenient in its explanation of major plot elements and too slow to help you suspend disbelief, this movie is a mediocre fails to thrill. Watch it only if you are obsessed with 23 (and bad thrillers).
Garden State (2004)
Are you "in it?"
Quirky and self-indulgent, Garden State is about moments. The story about a socially challenged guy's discovery of life without pills has some beautiful moments. And yet, the film comes across as moody overall. This is definitely not a movie that you could pull out of your personal collection and watch anytime. However, if you are in a lazy introspective kind of a mood, you could sink into a couch and watch the moments unfold at their leisurely pace. The acting makes the film better than it is. The actors make their characters completely believable even as they impart a bit of subtle humor to the story. Some scenes would stay in your mind for a long time while some mediocre ones fade away rapidly. A film about self-discovery has to suspend fantastic plot lines to be seen as realistic. However, by making that bargain Garden State requires the viewer to be in the right sort of mindset to appreciate it. Definitely watchable once though.
Stranger Than Fiction (2006)
It is life; it is stranger than fiction
It is amazing how life's simple lessons can be narrated in so many imaginative ways. If you rip Stranger Than Fiction to its core, you would find it is not just a story. It is a parable with an age old truism being its moral. Harold Crick (Ferrell) needs a life altering event to break out of his meaningless lifestyle and that event arrives in the most unreal form. The movie is another one of quite a few Hollywood movies that fantasy in the storyline for make the message more realistic. The name of Michel Gondry definitely comes to mind. In fact, the movie has Gondry/Charlie Kaufman feel to it in that there is no attempt made to rationalize the fanciful. The movie remains completely accessible at all stages and uses intelligent screenplay to keep the audience engage as the story starts to unravel itself. Some scenes, including the ones depicting Ferrel's meticulousness, are hilarious and lay a very solid base for the move. Even though, the story assumes a more serious nature in the second half, there is always an element of humor attached in the scenes. In being subtle in its humor while not becoming completely melodramatic, the film manages to achieve a consistent tempo in storytelling throughout. The performances are top-notch and Will Ferell's efforts to underplay Harold is as fine as Jin Carey in Eternal Sunshine of the Spotless Mind. Overall, the movie weaves a simple story around some very imaginative writing and tight screenplay to make for a memorable watch.
La science des rêves (2006)
The Art of Imagination
Very imaginative and full of delightful fantasies, this Michel Gondry movies is a signature for the genre the director has created for himself. His penchant, successful one at that, of mixing reality with fantasy bore refreshing results in Eternal Sunshine of the Spotless Mind. in many ways, The Science of Sleep is less firmly rooted in reality than Eternal Sunshine... was. This allows Gondry to explore his deepest imaginations and present them in a very interesting visual style. Sometimes, his thoughts are too creative to be understood at the level of an average movie watcher. So, while it might be through the layers of imagination to understand the significance of each scene, the overall effect is charming. Gondry weaves a very realistic tales around abundant unreal visions, enough to confuse the viewer and yet keep them guessing. i have always found it hard to explain his movies as a story because they sound ridiculous. But, it is amazing how things start fitting in when a master like Gondry is telling the story. The storyline, even without its outlandishness, is touching. Gael Garcia plays the character so perfect that even Gondry could not have imagined it better. His quirks, his use of language and his sudden switches between confident and meek behavior brilliantly defines a character who is pivotal for the movie. Overall, watching it is a weird experience, but beyond the colorful imagination, if you choose to ignore it, lies a very realistic story and some very fine acting.
Be Kind Rewind (2008)
Ridiculously Imaginative
This movie tests the limits to which imagination can go before it starts getting weird. Michel Gondry, one again, comes up with an idea that is admirably refreshing. The first half of the movie with the video store employees shooting their version of the movie is hilarious and that remains the best part of the movie. From there the movie goes off in a bit of a tangent both in terms of the director's idea and the story development. Gondry's idea of using a film to save a building from demolition appears as a separate idea from what was depicted din the first half. In that way, Gondry may have bit more than he can chew by trying to link these ideas into one single story. Having said that, there are some connections seen between the halves, but the dichotomy is too great to treat this as one movie. It seems like Gondry had an imaginative idea, but could not bring it to any logical conclusion and instead, tried to blend another plot line into it. The movie is refreshing purely for the ingenuity and the audaciousness of the story. However, the premise is extended to a ridiculous level in the second half leaving the viewer incredulous. The fact that the humor dies in the second half does not help the film's cause. Overall, Gondry deserves full credit for his refreshing ideas. Yet, such appreciation should not stand in the way of calling this an average movie.
The Big Lebowski (1998)
Mark that as an eight.
It is a director's movie and again, the Coen brothers manage to leave their idiosyncratic stamp on this movie. Mostly intriguing, but sometimes weird, the Coens allow another story to unravel in a psuedorealistic world that they create in so many of their movies. Looking back at this movies as a whole, it seems like a rather mediocre product with crumbling storyline. However, if you have watched the Coens enough, you would know that they are more likely to deliver instantaneous gratification while watching a movie than give memorable product to be remembered later. So, while some subplots in the Big Lebowski stick out like a sore thumb, the movie succeeds in entertaining with some genuinely hilarious scenes. There are moments where sheer brilliance radiates from the scene construction and it is for these moments the movie has to be watched. In my early days as a Coens fan, I have made the mistake of trying to overthink their movies. It is mistake because retrospectively their movies may appear ordinary, but at the time of viewing, the Coens amazing audaciousness holds together. It may be viewed as a victory of style over substance, but it really is an effort to choose entertainment over reality. I did not take much home from Lebowski, neither did I think it was a perfect storyline, but it was thoroughly entertaining. And sometimes, that is all you need.
King of California (2007)
A realistic fairy tale
A fantasy that uses realistic circumstances to tell something like an inspirational fairy tale. The father-daughter relationship and presence of contemporary superstore adds an element of believability to what essentially could have been a fairy tale. So, while the movie requires you to make many leaps of faith to completely appreciate the story, it is in the realistic part of the story where the charm lies. Wonderfully acted and well constructed, the story provides for many tender moments before culminating into an ending that is both fantastic and suggestive. One of those movies that you can watch, enjoy and forget and then, of course, re-watch to discover something new.
The Man Who Wasn't There (2001)
Coens trade humor for perfection
A movie that has everything going for it except entertainment. An unemotional man's search for life's meaning has the Coen brothers weaving together some of the key existential questions in a well-constructed story. The movie is cinematically perfect, replete with great acting, brilliant direction and engaging cinematography. However, the one thing I find missing from the movie is entertainment that I associate with most of the Coens' offerings. After all, these are the directors who filmed a melancholy story like Fargo in a charmingly funny way. In this movie, the Coens leave behind attempts at dark humor to portray a consistently grim picture. The scenes are long-drawn at times, sometimes to the point of being boring. While the movie illustrates the directorial abilities of the Coens, the morose and slow nature of the story means that a viewer needs to be in a certain mood to enjoy the film. Overall, I think the movie, especially the script, is an advertisement for Coens' skills, but in being drab, it is one of the few films from the brothers where you will not think and enjoy at the same time.
Spellbound (2002)
A classic documentary where less is more
The film starts with personal lives and motivations of eight spelling bee contestants in 1999 and culminates in a thrilling climax with the crowning of the champion. A lot of nail biting moments in the documentary are provided by the contest itself and cannot be attributed to any special efforts by the director. However, digging a little deeper, the documentary is exactly what it should be. It does not try to take any limelight away from the actual competition. Instead, through the stories of the hand-picked eight contestants, the film attempts to answer any and all questions that people are most likely to have while watching an arcane competition. Questions like- why do they do it? how do they feel? what motivates the parents?- may remain unanswered when the contest is televised. So, each significant moment in the bee is complemented with emotional interpretation of it through the eyes of the parents and participants. The documentary leaves you with a sense of satisfaction and wonderment. this is not only because the stories are exciting, but also because the director has laid out a minimalistic, yet adequate, framework to explore spelling bee and the people in it.
The Pleasure of Your Company (2006)
The excruciating pain of their company
The thing about romantic comedies is that most of them are not memorable. Which is good because you would want to forget movies like 'Wedding Daze' in a hurry. The good romantic comedies run a very predetermined script and yet are enjoyable because of some good acting and comedy. This movie lacks both. Trying to start off on an innovative note, the movie degrades into cesspool of bad jokes. The director has no direction for the movie. As a result, the movie crawls along from one labored scene to another in search of elusive humor. Some of the jokes are corny, some are plain stupid and some are put in there just because anything related sex can be passed off as comedy these days. There is no attempt made to explore any chemistry between the lead pair, something even bad romantic movies do. It is hard to believe, as the plot 'advances' that two people would ever fall in love with each other without having a single decent conversation. Halfway through the movie, I lost whatever little expectations I had and instead decided to enjoy the sheer ridiculousness that each passing scene unfailingly brought. Even though I watched on a drab Sunday evening with no hopes, I still ended feeling completely brain numb.
Following (1998)
Intelligent and Breezy
Christopher Nolan uses his signature fragmented story telling skills to tell a gripping tale. The film is intriguing when viewed the first time. Like most of Nolan's movie, the cards fall in place in the end to complete the picture. While this works well for complex plots, the plot at the heart of this film is straightforward. Hence the fragmented narrative, especially on second viewing, seems as a forced attempt by the director to complicate a simple story. That said,the movie is well-directed and you can see glimpses of the genius that Nolan would eventually show in Memento and The Prestige. The movie is an engaging watch and with its short running time, the first viewing is breezily exciting. And since the plot is simple, there aren't many alternate theories that need to thought of to understand the intelligence of the movie. Overall, a delightful when first viewed. Repeat viewings may not be that pleasing.
Insomnia (2002)
Slow at times, a good watch overall
Made after Memento and before The Prestige, Christopher Nolan replaces mysterious plot lines with psychological thrills. Not long into the movie, all the pieces of the puzzle are revealed, yet, with amazing skill, Nolan manages to provide one interesting twist after the other. The film is dominated by the beautiful Alaskan landscape, which has been effortlessly weaved in to the story. The protagonist's inability to sleep is a masterstroke as it adds an intriguing element to the screenplay and makes for some memorable scenes. Set at a pace that is unusual for crime thrillers, Insomnia rides on brilliant direction, strong performances and visual rapture to elevate an unremarkable story to a very fine movie. Worth a watch!
Fargo (1996)
Classic Coen
A powerful story can be a source for a great movie. However, in the hands of a great director, a powerful story can be elevated to a masterpiece. Without any doubt, Fargo is a director's movie, for the most memorable things about the movie are the little idiosyncrasies. There is an undercurrent of humor throughout the movie that brilliantly contrasts with the moroseness of the story. The movie, like most of Coen brothers' movies, has over-the-top acting performances that keeps the movie interesting. This is typical of how Coens approach most of their movies and if you have a taste for it, this movie is a treat. In short, a intriguing story peppered throughout with trademark humor and noteworthy performances makes for very entertaining watch. Also, the background score is great. You could read a lot more into the movie, but even if you do not, it still remains extremely entertaining.
Shattered Glass (2003)
Compelling Story, brilliantly told
Once in a while, the glory of motion pictures comes across in the form of those little gems of movies. It is movies like 'Shattered Glass' that prevent me from phasing out Hollywood, even though it has hurtled everything from Meet the Spartans to 10,000 BC on me. The movie is about an ambitious young journalist who is willing to stretch his morals (and imagination) to succeed in the competitive field of journalism. Even if somebody misses the immensely enjoyable realism in it, the movie is laudable for proving the impact of a compelling story alone. Another reason I am moved by this movie is the way a quirky incident has been improvised to a gripping spectacle. And there lies the allurement of movies. You could read an article about this in any matter-of-faclty newspaper and move over to mull on the latest stock price. Or you could stumble across a similar story written as a novel and be affected enough to defer your breakfast by 10 minutes. When motion pictures tell you the story, there are real people trying their best enact a particular sequence of thoughts pulling you into their worlds and guiding you with facial expressions, emotions and body language. If done right, you have just witnessed the event occur again in front of your eyes, a privilege any textual material cannot afford to you. The strongest justification for movies is not those manufactured monsters or artificially created tension in fictional story lines, but the simple potential to recreate a real event for us to witness repeatedly. If someone ever said that, "the best movies are the ones that make you think," I would agree with him and add that "movies are the best medium because they can make you think more." I recommend the movie 'Shattered Glass,' for it asks uncomfortable questions, exposes a hidden, yet common, corner of human brain and tells a story minus frills. It is ironic that Stephen Glass forays into fiction became a fascinating reality of human existence.
The Paper Chase (1973)
has its 'Hart' in its right place
I watched this movie only because somebody in my law class recommended it to observe the socratic method of teaching. But this movie achieves a lot more than that. The best thing about this movie is it doe snot wish to accomplish a great deal. In a quiet, but a gripping, way we are taken through the chronicles of a first-year of a law student. A student who is the protagonist for reasons unimaginable now. He speaks less, but is likable. Compared to movies where every male lead has to possess fighting and talking skills in addition to inherent ability to pick up women, Mr. Hart here comes as a welcome break. He is subdued, his achievements are not humongous and yet, his character has an instant charm on the virtue of being realistic. The story is strictly separated into beginning, middle and end. So, the narrative is unfettered by the needs to differentiate the movie into parts. Instead, the movie emerges as very believable with its seamless narrative. This is much before the multiplex era, yet there is an amazing visual quality. Some scenes like the one in the football stadium and the one on the beach are beautiful picturized. Having some wonderful classroom scenes and using silence as a great tool, the movie comes across as a warm and smart. It is a simple tale, yet it is sweeping in many ways. The absence of need to adhere to any cinema clichés lends a certain credibility to the movie. the acting is top-notch and each actor slips well into their characters. My personal favorite is Hart, who uses his silence and body language to deliver a likable performance despite having a single memorable dialogue. Overall, this is a delightful product whose simplicity is further appreciated by our unreasonable demands of movies these days.
The Usual Suspects (1995)
Gripping!!
The problems with movies like "The usual Suspects" is that they are taken too seriously. People flock to identify a hidden meaning, a socially relevant message or a reflection of time when it was made. While a good movie may and, sometimes, does have one or more of these attributes, still the basic point of every good movie is to entertain. If the movie has involved me in it, made me suspend my disbelief to move along enthusiastically with the story, it has done its job. The Usual Suspects does just that. You may sit comfortably long after the movie is over and think about how some parts make no sense or are improbable. But, while watching it just sweeps you, partly because of its same improbability and also because of its pace. The pace is just right, not fast enough to make you lose track of what is happening, or slow enough to second-guess the motives and figure out the plot twists. The way the movie unfolded and ended was enough to keep me interested throughout. The ending is a classic, even if you guess it a little before you are expected. Of course, the delight in watching it the second time is immense as armed with the revelation at the end, you can view a lot of scenes with an investigative interest and come off totally consumed. Besides its plot, TUS has brilliant performances to keep you entertained and some great dialogs. It is one of those movies form which you can take nothing home, apart from the pleasure while watching it. I say, thats enough!!
Scoop (2006)
Not Woody's 'Scoop'
I sense that much of how this movie is going to be judged is by Woody Allen's performance and whether or not it has lived up to his earlier gems. It is definitely not Allen at his best, but putting his character in the overall perspective of the movie, his character fits in. The movie itself is not a masterpiece, but manages to keep a healthy level of entertainment going. The plot keeps the viewer engrossed and that is what makes this movie a pleasant viewing the first time. Given the overall objective of the movie, the actors did a fine job, although a lot of Allen's jokes were an attempt at pandering, partly eclipsing hilarious lines. The climax, albeit expected, was sudden and certainly did not have a convincing feel to it. All said, an entertaining movie with an interesting plot and characters, but far from being described with superlatives.
The Namesake (2006)
To each his own
lets face it. It is not an easy job to adapt a book into a movie, not especially if the book spans over generations. Mira Nair faced an uphill task. Adding to her problems was the structure of the book. There is no clear ending, no dramatic incidents to forcefully lead one phase to the next. When you turn this piece into a movie, it is so easy for people to come out and complain that nothing happened in the movie.
Namesake does a commendable job in remaining faithful to the book. The incidents (or the lack of thereof) are religiously recreated, and no major changes are made in the narrative order. But, the book is more than just the story. It is the mood it creates that makes it so haunting. Namesake the book scores the most in the voice of truism that commentates on the progress of the story. It is not surprising to find so few dialogues in the book. The reason a third person narrative is used is because the writer understands that each event has to have a background, intimate detailing and deep analysis. And it is in these impersonal (to characters) statements, you find the beauty of Namesake.
To me, the movie does not do more than just telling the story. effectively, it fails to recreate the mood of the book. You would still love it if you have read the book. You know the inspiration behind each move, and you are just happy to see pictures that were only in your brain come to life. Namesake the movie is like a good supplement. It enhances the effect of its parent source (the book), but is useless without the latter. As a stand-alone movie, Namesake fails because it just does not explain much. I understand that it is not possible to do that enough through cinema, after all, the story has to be told. Namesake is just a bad book to adapt. Its character asks for impossible movie adaptation.
You may adore namesake is if you have read the brilliant book behind it or if appreciating lead performances in a movie is the sole purpose of watching. The movie is vividly filmed and visually top-notch. but if you don't read the book before watching the movie, you are not doing justice to either.
Chak De! India (2007)
Not 'Miracle'ous
There would be people who will call this a blatant copy. Although the movie reminds a lot of 'Miracle', it is not a copy. For, in addition to being inspired by real events, this movie faithfully follows the set rules of the underdog flick. Almost every underdog movie follows the same story pattern and will keep doing so. So, we see a team fighting all possible odds and, guess what, overcome them. The film goes about delivering its message in a classic over-the-top way trying excessively to appeal to Indian sensibilities. The problem with Chak De is it adds nothing to the genre. The underdog theme is not new to Indian cinema (Lagaan), the emphasis on hockey is incidental and in fact, gives the writers with ammunition to place hockey's popularity as a deterrent to the determined team's success. The scenes where one of the player's cricket-star boyfriend trashes hockey is one of the examples how the film-makers have gone out of the way to add to the existing obstacles facing the hockey team. Similarly, the battle of sexes to send the team to the world cup is melodramatic and subtracts from the believability of the movie. Chak De is annoying because it invents problems in the form of blatant prejudice and red-tapism in hockey associations to make the task of winning look impossible. While these may be real problems in Indian sports, I am sure no sporting association discriminates only and so much on the basis of gender. People understand the problems in winning a world cup as it is, it is an overkill to stuff the content with road-blocks for glorifying the achievement. The lack of subtlety is where Chak De misses its mark. In this aspect, i wish Chak De had borrowed from Miracle. While Miracle built-up the sense of achievement slowly, Chak De tries too hard to convince us of difficulties. Shahrukh as a coach lacks the understated elegance of Kurt Russell. Russell elevated Miracle with his icy performance of tough hockey coach. Shahrukh goes for an over-the-top, preachy coach that inspires irritation more than admiration. The scene where the coach makes the players say they play for India (than for their state) is a rip-off from the "who do you play for?" scene in Miracle, and it is an example of how Chak De brash approach contrasts to Miracle's subtlety. Despite its short comings, Chak De builds up a steady narrative. The dialogues are smart and the team-building efforts of the coach are engrossing. The hockey scenes are impressively framed and though you know how the movie ends, there is a sense of euphoria at the end that is so important in such movies. Chak De is an honest attempt at making a totally Indian underdog film, but if you want to experience the real emotions of watching such a film, try Miracle.
Just Like Heaven (2005)
Corny but pleasing
A lazy loner and an overworked doctor in San Fransisco desperately need a relationship to overcome their mental mess. As providence would so ingeniously have it, the lady meets with an accident and this ejects her spirit, with enough time and charm, to exclusively 'haunt' our loner guy. The body from which the spirit is sourced lies listlessly in coma- a hint that our metaphysical romance will still have a happy human ending.
Logic has always been entertainment's slave in the movies. So, while the spirit can pass through the walls and furniture,and fail to touch important paraphernalia like telephone and other people's hands, it (she) can also sit down on a couch when her other-worldly companion mushes sweet-nothings. As ghost-busters and spiritual gurus are sacrificed for laughs, our man finds it to impossible to get rid of his beautiful ghost friend. Cupid strikes. Why not?? Of course, the situation is complicated by the subtle revelation that the ghost does not remember her life when alive. This gives the movie a plot as the love-stricken couple unravel the story behind this turn of events. Also, this sets up the stage for a reciprocal memory game when the body in coma comes back to life. You can foretell the climax being Elizabeth's (body has a name) inability to remember her rendezvous as a spirit before the invincible power of love (ably assisted by touch) overcomes these little obstacles.
Having acknowledged and ignored the clichés and illogical events littering this movie, you are better equipped to enjoy it. Every once a while, the search for practicality and realism in movies should stop and a particular movie should be judged by how we feel about it. Despite the mentioned flaws, 'Just like Heaven' gives you some sweet moments and makes you feel for the characters. Mark Ruffalo's David Abbot is a guy who can instantly be sympathized with. The romance with Elizabeth's spirit is very likable. A few smart laughs and scattered musings about "doing more with life" leaves a fond image in your mind. In short, you feel for the movie after it is over and tend to forgive its flaws.
This one is different from the usual chick flicks in not trying to hard to impress anyone. Instead, the warmth in the story rises above the corny-ness and makes this flick a passable watch.
Nishabd (2007)
Little bold and a bit beautiful
I tried to watch this movie keeping "Lolita" and "poison ivy" out of mind. After all, the 'old man falling for a young girl' is not new in Hollywood by any stretch of imagination. This movie is purely for Indian audiences, many of whom may have never seen "Lolita", and therefore its purpose is to introduce an 'alien' subject to bollywood. So far, so good!!
Nishabd starts well. A young girl Jiah captures her friend's father's heart by being unusually carefree and unbelievably audacious. While her 'take light' attitude is conveniently attributed to her Australian upbringing and a troubled childhood, the scenes showing Amitabh's growing attraction towards her are well presented. Here, i must mention the young actress Jiah Khan. She fits the part completely- physically and phonetically. Using her extra-provocative body language and always-uncrossed legs, she brings to life a manipulative and headstrong young girl with a selfish motive of enticing an old man. Amitabh is reliable, though monotonous, and speaks volumes through his eyes.
Jiah's and amitabh's growing infatuation for each other is pasted against picturesque backdrops of Munnar (kerala) and up to the interval, the movie is very much watchable ( sometimes, entertaining). As traces of sexual tension are clearly visible and the affair being still a secret form the household, you anticipate a path breaking second-half.
This is where things go wrong. By the time jiah and amitabh confront each other with their feelings, the bollywood's morality fever has returned. Nishabd makes the elementary and hackneyed mistake of grouping love and lust in the same bracket. The way the first half is shown, the only conclusion you can draw is that both the protagonists are sexually attracted to each other. Yet, the director identifies these lustful feelings as love and leaves you confused. This is, undoubtedly, done because it would have been difficult to convince the Indian people that the base of an unconventional relationship is lust, not love. Since 'love conquers all' and is much 'purer' and acceptable than lust, people must respect it. For, however important age difference is, love is love and it is OK if it happens to anyone, isn't it? As a reviewer rightly put: "This movie fits the moral envelope, but it never tries to push it." THe movie makes a brilliant point about how an old man's impending death can lead him to unexperienced joys in the world like young bodies, yet it fails to recognize the relationship as raw infatuation. I can understand how important it is for the movie's commercial success to call lust as love, but i expected RGV to be bolder and give us a more radical story.
Nishabd is still not a total disappointment. The photography is beautiful and you can't help but want to visit munnar after watching. The acting is top-notch and Jiah khan is certainly a find. But, above all, nishabd is the latest in the series of bollywood films this year that have gradually taken us toward more relevant and intelligent cinema. Nishabd deserves credit for addressing a bold issue and on the whole, for being a part of bollywood revolution towards better films, though we haven't reached there yet.