tag:blogger.com,1999:blog-38700143310534879042024-03-04T20:05:47.572-08:00gayatrigauristudioWriting and filmmaking journey,exploring art n the craft.gayatri gaurihttp://www.blogger.com/profile/04375543035604734663noreply@blogger.comBlogger243125tag:blogger.com,1999:blog-3870014331053487904.post-72150325549200094482020-02-06T00:21:00.000-08:002020-02-06T00:21:02.351-08:00 PARASITE: STAIRWAY TO HELL<div dir="ltr" style="text-align: left;" trbidi="on">
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<span lang="EN-US" style="font-size: 16.0pt; mso-ansi-language: EN-US;"><o:p> </o:p></span><span style="font-size: 16pt;">Poverty has a distinct smell. The poor don’t smell it.</span></div>
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<br /></div>
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<span lang="EN-US" style="font-size: 16.0pt; mso-ansi-language: EN-US;">They live with it. <o:p></o:p></span></div>
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<br /></div>
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<span lang="EN-US" style="font-size: 16.0pt; mso-ansi-language: EN-US;">It is a smell that disgusts the rich. Turning the nose up and away or
rather a recoil from a STINK, finds its own brilliant plot point in a script that
will leave you thinking about class divide with a discomfort that should and
must stay. Korean director, Bong Joon-ho’s “Parasite”, up for six Oscar
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<br /></div>
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<span lang="EN-US" style="font-size: 16.0pt; mso-ansi-language: EN-US;">This story is about South Korea’s poor Kim family –so poor that they let
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wealthy Park family, into giving them jobs. So begins a funny and deliberate,
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mansion, but pretend to be strangers to each other. <o:p></o:p></span></div>
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<br /></div>
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beautiful, interiors. The same night might mean a torturous nightmare, for
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<br /></div>
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<span lang="EN-US" style="font-size: 16.0pt; mso-ansi-language: EN-US;">The entire story is shot in contrasts, drumming in endlessly the vast
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kind of semi basement, the rich live literally up and above a certain ground
level, led by a staircase, into bright sunlight. Which leads to the contrast of
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trouble, they are seen going down a long staircase, whether it is inside the
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<span lang="EN-US" style="font-size: 16.0pt; mso-ansi-language: EN-US;">“It all get ironed out. Money is an iron,” replies the wife
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<br /></div>
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<br /></div>
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<span lang="EN-US" style="font-size: 16.0pt; mso-ansi-language: EN-US;">‘Parasite’ is not a horror movie. But it is seriously scary as is the
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poor? Or both?<o:p></o:p></span></div>
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<br /></div>
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the most compelling contrast ever.<o:p></o:p></span></div>
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<br /></div>
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<br /></div>
<!--EndFragment--><br /></div>
gayatri gaurihttp://www.blogger.com/profile/04375543035604734663noreply@blogger.com0tag:blogger.com,1999:blog-3870014331053487904.post-90323345071963387502020-01-25T08:50:00.000-08:002020-01-24T19:25:52.890-08:00MARRIAGE STORY: THE WORTHY MESS THAT IS MARRIAGE<div dir="ltr" style="text-align: left;" trbidi="on">
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<br />
<div class="MsoNormal">
<br /></div>
<div class="MsoNormal">
<br /></div>
<div class="MsoNormal">
<span style="font-family: "times new roman";">It took me four attempts </span><span style="font-family: "times new roman";"> </span><span style="font-family: "times new roman";">to watch the complete film. Had it not been on
Netflix, I would probably have walked out in a theatre screening. The thing is
I don’t want to watch an ugly court battle between a couple. Or sharky lawyers
in hot suits and sexy hairdos, squeezing out their own pounds of flesh and hard
earned money from the ego-blinded and deeply hurt spouses. They justify divorce
with words like, “…</span><i style="font-family: "times new roman";">what you are doing is
an act of hope</i><span style="font-family: "times new roman";">.” Of course, the client, in this case- Nicole looks
completely lost and hopeless.</span></div>
<div class="MsoNormal">
<br /></div>
<div class="MsoNormal">
<span lang="EN-US" style="font-family: "times new roman"; mso-ansi-language: EN-US;">The very idea of what’s in store, is just too
disturbing to visit. But then curiosity prevailed.<o:p></o:p></span><br />
<span lang="EN-US" style="font-family: "times new roman"; mso-ansi-language: EN-US;"><br /></span>
<span style="font-family: "times new roman";">The title says it all. This story about divorce proceedings of a couple---Scarlett Johansson as Nicole and Adam Driver as Charlie, can either be seen as a funny and sad love story without a happily ever after ending or a divorce story with actually a happy enough ending. Therein lies the complexities of character and the married world they have inhabited. Like Woody Allen’s movies, the film is entirely auteur driven by writer/director, Noah Baumbach.</span></div>
<div class="MsoNormal">
<br /></div>
<div class="MsoNormal">
<span lang="EN-US" style="font-family: "times new roman"; mso-ansi-language: EN-US;">The script has several memorable scenes, yet for me,
they are not the two major ones widely discussed , namely, Johansson’s one take
shot monologue or the intense fight scene between Nicole and Adam. Both felt
too maneuvered, over written, over performed, over ‘staged’, <span style="mso-spacerun: yes;"> </span>like a play. It seemed like the director was
blocking the scenes like a play. The arguments, the dialogues felt too theatrical.
The famous fight scene makes you marvel at the actors, and the scene
composition per se but not feel for them. Like a piece of column written by a
great intellectual whose style<span style="mso-spacerun: yes;"> </span>or words <span style="mso-spacerun: yes;"> </span>may evoke admiration but may not stir any
deeper emotion. Unlike Kramer vs Kramer. Both characters and their world, had a
certain cold detachment in their treatment, which did not draw me in much.<o:p></o:p></span></div>
<div class="MsoNormal">
<br /></div>
<div class="MsoNormal">
<span lang="EN-US" style="font-family: "times new roman"; mso-ansi-language: EN-US;">However, much is there to be appreciated about
Baumbach’s crafting of certain scenes.<o:p></o:p></span></div>
<div class="MsoNormal">
<br /></div>
<div class="MsoNormal">
<span lang="EN-US" style="font-family: "times new roman"; mso-ansi-language: EN-US;">The opening scene was just exquisite and a great
example of how a beginning should be written, something that introduces us to
the main characters, make us fall in empathy, if not in love, with them and just
when you are going somewhere with them, the scene turns around<span style="mso-spacerun: yes;"> </span>revealing the central conflict. <o:p></o:p></span></div>
<div class="MsoNormal">
<br /></div>
<div class="MsoNormal">
<span lang="EN-US" style="font-family: "times new roman"; mso-ansi-language: EN-US;"><span style="mso-spacerun: yes;"> </span>Charlie—the
husband-- has a theatre company based in New York. The husband is a director,
the wife is an actor. The wife has a universal grouch. She could never have her
own real limelight. The essence here is that like most wives, she did not feel
she existed— he didn’t know even her phone number-- and somewhere she lost
herself while being a supportive wife who acted in her husband’s plays and
perfected <span style="mso-spacerun: yes;"> </span>the roles of <span style="mso-spacerun: yes;"> </span>wife, mom and Charlie’s play’s actress who was
vaguely recalled while the husband got all the accolades. Despite her give it
all attitude to his directorial demands like… “<i style="mso-bidi-font-style: normal;">crawling but also standing</i>…”. When finally she does manage to get
something worthwhile in LA, he dismisses it. <o:p></o:p></span></div>
<div class="MsoNormal">
<br /></div>
<div class="MsoNormal">
<span lang="EN-US" style="font-family: "times new roman"; mso-ansi-language: EN-US;">The wife’s side of the story is explained with lengthy
talky scenes, shot in long, static close-ups which somehow fail to move as much
as the husband’s side of the story seen through his struggling to comprehend
the problem. <o:p></o:p></span></div>
<div class="MsoNormal">
<br /></div>
<div class="MsoNormal">
<br /></div>
<div class="MsoNormal">
<span lang="EN-US" style="font-family: "times new roman"; mso-ansi-language: EN-US;">Those are the real gems. One of them is the last scene
and a perfect payoff to the opening scene. <o:p></o:p></span></div>
<div class="MsoNormal">
<b style="mso-bidi-font-weight: normal;"><i style="mso-bidi-font-style: normal;"><span lang="EN-US" style="font-family: "times new roman"; mso-ansi-language: EN-US;">Spoiler<span style="mso-spacerun: yes;"> </span>Alert.<o:p></o:p></span></i></b></div>
<div class="MsoNormal">
<span lang="EN-US" style="font-family: "times new roman"; mso-ansi-language: EN-US;">Charlie is reading aloud a letter to his son. The
letter is written by the wife talking about Charlie’s best attributes and how much
she really loves him, in that odd way an embittered wife can still love her
husband. As he reads, there is only a hint of an emotion in his voice or face. <span style="mso-spacerun: yes;"> </span>Then comes the hint of a presence<span style="mso-spacerun: yes;"> </span>of the wife<span style="mso-spacerun: yes;">
</span>at the doorway, listening. Then comes the shot of the little boy- their
son, who at this tender age is witness to an actual breakdown—of a marriage, of
his father reading the letter. Charlie stops reading, his chin quivering. His
voice if one can call it that, is wet with unshed tears. And you as the
audience and he, Nicole at the doorway, are one and all are weeping silently.
No melodrama. Just utter sadness. It’s the end of what could have been a loving
marriage. Would this scene have half the impact had it not started the way it
did, at the beginning of the movie? Not likely. In the beginning, we hear the characters’
own voices as they describe each other in their letters written as part of a
divorce mediation exercise, in front of a counsellor. The scene ends when
Nicole refuses to read aloud her letter and storms out.<span style="mso-spacerun: yes;"> </span>Little did both realize that she had actually
written a beautiful love letter where the words felt more raw, more honest, and
Charlie is left more vulnerable at the end of it. <o:p></o:p></span></div>
<div class="MsoNormal">
<br /></div>
<div class="MsoNormal">
<span lang="EN-US" style="font-family: "times new roman"; mso-ansi-language: EN-US;">The simplicity of the scene is far more impactful than
the dramatic end of the famous, intense fight scene which closes on a long shot
showing Charlie at his most vulnerable, literally on his knees and sobbing
uncontrollably at Nicole’s feet while she comforts him.<o:p></o:p></span></div>
<div class="MsoNormal">
<br /></div>
<div class="MsoNormal">
<span lang="EN-US" style="font-family: "times new roman"; mso-ansi-language: EN-US;">By now, the focus has long shifted to Charlie’s
tragedy from Nicole’s version. We continue to witness his torture. Here’s the
actual crème of good writing and a scene involving a character who plays social
worker/ ‘evaluator” (a superb Martha Kelly in a single scene) recruited to
observe Charlie’s parenting skills over dinner. Kelly deserves an award as much
for her silent reactions, her stiff and erect body posture relating to the
awkwardness of the entire scene and her soft, yet subtly enquiring voice
capturing the bizarreness of the situation that can leave you as helpless and
angry and deeply sad just like the husband at the end of the scene, aptly lying
on a floor, literally wounded in body and soul. Not to mention a dark humour
ridden scenario thrown in, instigated by an innocent remark from his son, “<i style="mso-bidi-font-style: normal;">Do the thing with the knife</i>.” It can’t
get any more uncomfortable for Charlie as the Evaluator’s object of scrutiny.<o:p></o:p></span></div>
<div class="MsoNormal">
<br /></div>
<div class="MsoNormal">
<span lang="EN-US" style="font-family: "times new roman"; mso-ansi-language: EN-US;">However, it gets more uncomfortable for the viewer as
Charlie at one point breaks into a song. Shot in one take, Adam Driver outdoes
himself as he sings …<o:p></o:p></span></div>
<div class="MsoNormal">
<span lang="EN-US" style="font-family: "times new roman"; mso-ansi-language: EN-US;"><span style="mso-spacerun: yes;"> </span>“ ….<i style="mso-bidi-font-style: normal;">Someone to hold me too close<o:p></o:p></i></span></div>
<div class="MsoNormal">
<i style="mso-bidi-font-style: normal;"><span lang="EN-US" style="font-family: "times new roman"; mso-ansi-language: EN-US;"><span style="mso-spacerun: yes;"> </span>Someone to hurt me too deep<o:p></o:p></span></i></div>
<div class="MsoNormal">
<i style="mso-bidi-font-style: normal;"><span lang="EN-US" style="font-family: "times new roman"; mso-ansi-language: EN-US;"><span style="mso-spacerun: yes;"> </span>Someone to sit in my chair<o:p></o:p></span></i></div>
<div class="MsoNormal">
<i style="mso-bidi-font-style: normal;"><span lang="EN-US" style="font-family: "times new roman"; mso-ansi-language: EN-US;"><span style="mso-spacerun: yes;"> </span>And ruin my sleep<o:p></o:p></span></i></div>
<div class="MsoNormal">
<i style="mso-bidi-font-style: normal;"><span lang="EN-US" style="font-family: "times new roman"; mso-ansi-language: EN-US;"><span style="mso-spacerun: yes;"> </span>And make me aware <o:p></o:p></span></i></div>
<div class="MsoNormal">
<i style="mso-bidi-font-style: normal;"><span lang="EN-US" style="font-family: "times new roman"; mso-ansi-language: EN-US;"><span style="mso-spacerun: yes;"> </span>Of being alive<o:p></o:p></span></i></div>
<div class="MsoNormal">
<i style="mso-bidi-font-style: normal;"><span lang="EN-US" style="font-family: "times new roman"; mso-ansi-language: EN-US;"><span style="mso-spacerun: yes;"> </span>Being Alive…”.<o:p></o:p></span></i></div>
<div class="MsoNormal">
<br /></div>
<div class="MsoNormal">
<span lang="EN-US" style="font-family: "times new roman"; mso-ansi-language: EN-US;">Despite all of Adam Driver’s heartrending moments and
the intensely intimate drama, never moving away from the central two warring
though confused people, it is a short and single surprise monologue delivered
with finesse by Laura Dern, that is the real scene stealer.<o:p></o:p></span></div>
<div class="MsoNormal">
<br /></div>
<div class="MsoNormal">
<span lang="EN-US" style="font-family: "times new roman"; mso-ansi-language: EN-US;">Impeccable in her suit, hair and a sharp mind that can
barely conceal long and hard claws, Dern’s lines are like a bolt of mad rage-- <span style="mso-spacerun: yes;"> </span>an almost impromptu one , not delivered at a
court but as an outburst encompassing the grievances of a mother in today’s
male centric world.<o:p></o:p></span></div>
<div class="MsoNormal">
<span lang="EN-US" style="font-family: "times new roman"; mso-ansi-language: EN-US;">“ People don’t accept mothers who drink too much wine
and yell at their child…….</span><span style="background: #f6f6f5; color: #333333; font-family: "times new roman";">because the basis of our Judeo-Christian whatever
is Mary, Mother of Jesus, and she's perfect. She's a virgin who gives birth,
unwaveringly supports her child and holds his dead body when he's gone. And the
dad isn't there. He didn't even do the fucking. God is in heaven. God is the
father and God didn't show up. So, you have to be perfect, and Charlie can be a
fuck up and it doesn't matter. You will always be held to a different, higher
standard.”<o:p></o:p></span></div>
<div class="MsoNormal">
<span style="background: #f6f6f5; color: #333333; font-family: "times new roman";"><br /></span></div>
<div class="MsoNormal">
<span style="background: #f6f6f5; color: #333333; font-family: "times new roman";"><o:p> <a href="https://www.youtube.com/watch?v=Zpwbyrpzi4Y">https://www.youtube.com/watch?v=Zpwbyrpzi4Y</a></o:p></span></div>
<div class="MsoNormal">
<span style="background: #f6f6f5; color: #333333; font-family: "times new roman";"><br /></span></div>
<div class="MsoNormal">
<br /></div>
<div class="MsoNormal">
<br /></div>
<div class="MsoNormal">
<br /></div>
<div class="MsoNormal">
<br /></div>
<div class="MsoNormal">
<br /></div>
<div class="MsoNormal">
<br /></div>
<!--EndFragment--><br /></div>
gayatri gaurihttp://www.blogger.com/profile/04375543035604734663noreply@blogger.com0tag:blogger.com,1999:blog-3870014331053487904.post-26125714158439930732018-09-24T03:59:00.000-07:002018-09-24T03:59:13.347-07:00 FOREVER SEASON 1: A QUIRKY MASTERPIECE<div dir="ltr" style="text-align: left;" trbidi="on">
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<o:p> </o:p><span style="font-size: 12pt;">….</span><i style="font-size: 12pt;">And they lived
happily ever after</i><span style="font-size: 12pt;">….This often written line, develops manifold
interpretations when it comes to the latest series, “Forever” on Amazon Prime. The
eight-part, half hour series of season one, is like the rare rainbow you spot
in the skies. The rainbow evokes a state of stillness, wonder and deep
fascination. Likewise, this series, created by Alan Yang (‘Master of None’) and
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Let alone the premise, even the mention of a certain genre,
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humour suddenly knocks you into a dark tunnel which actually gets brighter at
the deep end. It is at once-- unusual, weird, bizarre, wildly imaginative,
funny and a deep contemplation on life, marriage and the consequences of one’s
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We meet the central couple, June (Maya Rudolf) and Oscar
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What happens next, is so exquisitely unpredictable and so
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treasures on the roads not taken. Themes of letting go of attachments, of
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gayatri gaurihttp://www.blogger.com/profile/04375543035604734663noreply@blogger.com0tag:blogger.com,1999:blog-3870014331053487904.post-20825045944837886192018-06-29T22:59:00.002-07:002018-06-29T23:01:06.190-07:00SANJU: I AM THE SON OF SUNIL DUTT AND I AM NOT A TERRORIST<div dir="ltr" style="text-align: left;" trbidi="on">
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<w:LsdException Locked="false" Priority="39" SemiHidden="true"
UnhideWhenUsed="true" QFormat="true" Name="TOC Heading"/>
<w:LsdException Locked="false" Priority="41" Name="Plain Table 1"/>
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<span style="font-size: 12pt;">Legendary
lyricists--Majrooh Sultanpuri, Sahir Ludhianvi and Anand Bakshi played key
influences in Sanjay Dutt’s redemption, as seen in the film “Sanju”. That is
nothing short of ‘poetic justice’, considering Sanjay Dutt was born to the
famous actors, Nargis and Sunil Dutt; and grew up in the world of Hindi cinema.
It is only befitting that in the best scene in the film, Sunil Dutt (play by
Paresh Rawal) stands with his son after midnight, at a dockyard and tells him
his own story of disarming (pun intended) the terrifying underworld don, Dawood,
with a Sahir Ludhianvi song. Soon both father and son (it is difficult to think
of him as Ranbir Kapoor who is simply transformed into Sanjay) start singing
the song with gusto. The next morning, Sanjay does the bravest thing anyone can
possibly do. Walking into a house with his head typically tilted; his eyes and
mouth as vulnerable and innocent as a child’s; he faces a local underworld guy
to tell him that he will not make an appearance for the Ganpati visarjan, he
has been ‘invited’ for.</span></div>
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<br /></div>
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<span style="color: black; mso-themecolor: text1;">Therein lies
the power of Sahir Ludhianvi’s lyrics, wisely used by a truly great father like
Sunil Dutt to guide his wayward son. <span style="mso-spacerun: yes;"> </span>(interestingly, Sunil Dutt himself has enacted
several songs written by Sahir Ludhianvi, including the popular 1963 song, “<i style="mso-bidi-font-style: normal;">chalo ek baar phir se ajnabi ban jaaye…</i>”).Therein
also lies the power of the truth told from the heart, in storytelling,
especially a biopic. <o:p></o:p></span></div>
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<br /></div>
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<span style="color: black; mso-themecolor: text1;">Leaving aside
three to four scenes when the old lyrics are mentioned, the rest of the film is
classic Hirani melodrama. Like all his past movies, there is plenty of <span style="mso-spacerun: yes;"> </span>unsubtle emotional manipulation, with the
characters bawling and in this case some tiger-rish growling that portrays
Vicky Kaushal’s talent at par with Ranbir’s. Only, the humour this time , has
completely dried out and fallen to taking pot shots at Indian accents. The
effort to bring in the commercial entertainment quotient, is too obvious. <o:p></o:p></span></div>
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<br /></div>
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<span style="color: black; mso-themecolor: text1;">The subject
on Sanjay Dutt’s life, by itself, is full of potent drama. As a line in the
film says, ‘people who make bad choices, make great stories’. However, Hirani’s
‘Sanju’ <span style="mso-spacerun: yes;"> </span>is not a complete biopic. It is
a rehash of the combined parts of Munnabhai’s core strengths and the story of
Sanjay Dutt’s redemption. As long as it remains the Munnabhai version, it works
big time, especially in the duplicating of a long father-son <i style="mso-bidi-font-style: normal;">jaadu ki jhappi</i> and an emotionally
explosive friendship scene between Sanju and his intense savior friend—Kamlesh
(Vicky) who of course replaces the more shadow-like, jovial Circuit.<o:p></o:p></span></div>
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<br /></div>
<div class="MsoNormal">
<span style="color: black; mso-themecolor: text1;">The
similarities are all there, throughout the film. Munnabhai <span style="mso-spacerun: yes;"> </span>is the story of a goon who tries to get a MBBS
degree in order to please his ethical dad. In Sanju, Sanjay gets lost in drugs,
unable to live up to his upstanding father’s standards and image. In both the
films, he has a best friend—Circuit in Munnabhai and Kamlesh in Sanju, with
shades of the virgin Jimmy Shergill’s character, thrown in for some contrived
laughs. While Munnabhai is a comedy and only fiction; Sanju is dark, intense and
a <span style="mso-spacerun: yes;"> </span>true story of father and son who lived
through hell, together, thanks to Sanjay’s self destructive actions.<o:p></o:p></span></div>
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<br /></div>
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<span style="color: black; mso-themecolor: text1;">As long as
the story remains about the emotional<span style="mso-spacerun: yes;">
</span>and mental challenges, the duo face and the real conflicts,” Sanju” is a
class act. But as soon as it shifts into propaganda mode of proving repeatedly,
throughout the second half, that Sanjay Dutt was not a terrorist as claimed by
the media, the film loses the core integrity of a Hirani film. <span style="mso-spacerun: yes;"> </span>Just like Hirani’s previous films which are
issue driven, be it the medical industry failings or religion superstitions as
in ‘PK’; “Sanju” suddenly picks up the media issue, blaming everyone’s
favourite scapegoat : the big, BAD newspaper headline and the entire media. The
last 15 minutes of the film are as clumsily written as the first 15 minutes
where the agenda is to prove that Sanju is not a biased story, thus introducing
a curly wigged, blue eyed Anushka Sharma as an objective NRI biographer.<o:p></o:p></span></div>
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<br /></div>
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<span style="color: black; mso-themecolor: text1;"><span style="mso-spacerun: yes;"> </span>By the end of the film, the actors suddenly
seem to announce, “ let’s play the blame game together” and <span style="mso-spacerun: yes;"> </span>both Sanjay Dutt and Ranbir Kapoor dance in
the credit rolls, to the tune of ..<o:p></o:p></span></div>
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<span style="color: black; mso-themecolor: text1;">”….according
to the sources<i style="mso-bidi-font-style: normal;">…. abey chup</i>”.<span style="mso-spacerun: yes;"> </span>In an effort to silence the so called
‘rumours’,and drill down Sanjay’s version of the story as the true story,
Hirani gives way to the mind and the mindless.<o:p></o:p></span></div>
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<br /></div>
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<span style="color: black; mso-themecolor: text1;">If only, they
had stuck to the more honest and timeless, Sahir Ludhianvi lyrics as used in
one memorable scene straight from the heart: ”……<i style="mso-bidi-font-style: normal;">na muh chupa ke jiyo</i>….”<o:p></o:p></span></div>
<!--EndFragment--><br /></div>
gayatri gaurihttp://www.blogger.com/profile/04375543035604734663noreply@blogger.com0tag:blogger.com,1999:blog-3870014331053487904.post-70736745976560219802018-04-13T02:53:00.000-07:002018-04-13T21:45:43.504-07:00OCTOBER: SHOOJIT SIRCAR AND JUHI CHATURVEDI’S FILM CONNECTS SILENTLY BEYOND A VARUN DHAWAN PRESENCE<div dir="ltr" style="text-align: left;" trbidi="on">
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<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
Name="macro"/>
<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
Name="toa heading"/>
<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
Name="List"/>
<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
Name="List Bullet"/>
<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
Name="List Number"/>
<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
Name="List 2"/>
<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
Name="List 3"/>
<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
Name="List 4"/>
<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
Name="List 5"/>
<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
Name="List Bullet 2"/>
<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
Name="List Bullet 3"/>
<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
Name="List Bullet 4"/>
<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
Name="List Bullet 5"/>
<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
Name="List Number 2"/>
<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
Name="List Number 3"/>
<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
Name="List Number 4"/>
<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
Name="List Number 5"/>
<w:LsdException Locked="false" Priority="10" QFormat="true" Name="Title"/>
<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
Name="Closing"/>
<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
Name="Signature"/>
<w:LsdException Locked="false" Priority="1" SemiHidden="true"
UnhideWhenUsed="true" Name="Default Paragraph Font"/>
<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
Name="Body Text"/>
<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
Name="Body Text Indent"/>
<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
Name="List Continue"/>
<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
Name="List Continue 2"/>
<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
Name="List Continue 3"/>
<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
Name="List Continue 4"/>
<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
Name="List Continue 5"/>
<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
Name="Message Header"/>
<w:LsdException Locked="false" Priority="11" QFormat="true" Name="Subtitle"/>
<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
Name="Salutation"/>
<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
Name="Date"/>
<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
Name="Body Text First Indent"/>
<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
Name="Body Text First Indent 2"/>
<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
Name="Note Heading"/>
<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
Name="Body Text 2"/>
<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
Name="Body Text 3"/>
<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
Name="Body Text Indent 2"/>
<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
Name="Body Text Indent 3"/>
<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
Name="Block Text"/>
<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
Name="Hyperlink"/>
<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
Name="FollowedHyperlink"/>
<w:LsdException Locked="false" Priority="22" QFormat="true" Name="Strong"/>
<w:LsdException Locked="false" Priority="20" QFormat="true" Name="Emphasis"/>
<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
Name="Document Map"/>
<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
Name="Plain Text"/>
<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
Name="E-mail Signature"/>
<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
Name="HTML Top of Form"/>
<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
Name="HTML Bottom of Form"/>
<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
Name="Normal (Web)"/>
<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
Name="HTML Acronym"/>
<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
Name="HTML Address"/>
<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
Name="HTML Cite"/>
<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
Name="HTML Code"/>
<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
Name="HTML Definition"/>
<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
Name="HTML Keyboard"/>
<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
Name="HTML Preformatted"/>
<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
Name="HTML Sample"/>
<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
Name="HTML Typewriter"/>
<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
Name="HTML Variable"/>
<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
Name="Normal Table"/>
<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
Name="annotation subject"/>
<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
Name="No List"/>
<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
Name="Outline List 1"/>
<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
Name="Outline List 2"/>
<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
Name="Outline List 3"/>
<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
Name="Table Simple 1"/>
<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
Name="Table Simple 2"/>
<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
Name="Table Simple 3"/>
<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
Name="Table Classic 1"/>
<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
Name="Table Classic 2"/>
<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
Name="Table Classic 3"/>
<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
Name="Table Classic 4"/>
<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
Name="Table Colorful 1"/>
<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
Name="Table Colorful 2"/>
<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
Name="Table Colorful 3"/>
<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
Name="Table Columns 1"/>
<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
Name="Table Columns 2"/>
<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
Name="Table Columns 3"/>
<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
Name="Table Columns 4"/>
<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
Name="Table Columns 5"/>
<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
Name="Table Grid 1"/>
<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
Name="Table Grid 2"/>
<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
Name="Table Grid 3"/>
<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
Name="Table Grid 4"/>
<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
Name="Table Grid 5"/>
<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
Name="Table Grid 6"/>
<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
Name="Table Grid 7"/>
<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
Name="Table Grid 8"/>
<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
Name="Table List 1"/>
<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
Name="Table List 2"/>
<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
Name="Table List 3"/>
<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
Name="Table List 4"/>
<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
Name="Table List 5"/>
<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
Name="Table List 6"/>
<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
Name="Table List 7"/>
<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
Name="Table List 8"/>
<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
Name="Table 3D effects 1"/>
<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
Name="Table 3D effects 2"/>
<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
Name="Table 3D effects 3"/>
<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
Name="Table Contemporary"/>
<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
Name="Table Elegant"/>
<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
Name="Table Professional"/>
<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
Name="Table Subtle 1"/>
<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
Name="Table Subtle 2"/>
<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
Name="Table Web 1"/>
<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
Name="Table Web 2"/>
<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
Name="Table Web 3"/>
<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
Name="Balloon Text"/>
<w:LsdException Locked="false" Priority="39" Name="Table Grid"/>
<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
Name="Table Theme"/>
<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
Name="Note Level 1"/>
<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
Name="Note Level 2"/>
<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
Name="Note Level 3"/>
<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
Name="Note Level 4"/>
<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
Name="Note Level 5"/>
<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
Name="Note Level 6"/>
<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
Name="Note Level 7"/>
<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
Name="Note Level 8"/>
<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
Name="Note Level 9"/>
<w:LsdException Locked="false" SemiHidden="true" Name="Placeholder Text"/>
<w:LsdException Locked="false" Priority="1" QFormat="true" Name="No Spacing"/>
<w:LsdException Locked="false" Priority="60" Name="Light Shading"/>
<w:LsdException Locked="false" Priority="61" Name="Light List"/>
<w:LsdException Locked="false" Priority="62" Name="Light Grid"/>
<w:LsdException Locked="false" Priority="63" Name="Medium Shading 1"/>
<w:LsdException Locked="false" Priority="64" Name="Medium Shading 2"/>
<w:LsdException Locked="false" Priority="65" Name="Medium List 1"/>
<w:LsdException Locked="false" Priority="66" Name="Medium List 2"/>
<w:LsdException Locked="false" Priority="67" Name="Medium Grid 1"/>
<w:LsdException Locked="false" Priority="68" Name="Medium Grid 2"/>
<w:LsdException Locked="false" Priority="69" Name="Medium Grid 3"/>
<w:LsdException Locked="false" Priority="70" Name="Dark List"/>
<w:LsdException Locked="false" Priority="71" Name="Colorful Shading"/>
<w:LsdException Locked="false" Priority="72" Name="Colorful List"/>
<w:LsdException Locked="false" Priority="73" Name="Colorful Grid"/>
<w:LsdException Locked="false" Priority="60" Name="Light Shading Accent 1"/>
<w:LsdException Locked="false" Priority="61" Name="Light List Accent 1"/>
<w:LsdException Locked="false" Priority="62" Name="Light Grid Accent 1"/>
<w:LsdException Locked="false" Priority="63" Name="Medium Shading 1 Accent 1"/>
<w:LsdException Locked="false" Priority="64" Name="Medium Shading 2 Accent 1"/>
<w:LsdException Locked="false" Priority="65" Name="Medium List 1 Accent 1"/>
<w:LsdException Locked="false" SemiHidden="true" Name="Revision"/>
<w:LsdException Locked="false" Priority="34" QFormat="true"
Name="List Paragraph"/>
<w:LsdException Locked="false" Priority="29" QFormat="true" Name="Quote"/>
<w:LsdException Locked="false" Priority="30" QFormat="true"
Name="Intense Quote"/>
<w:LsdException Locked="false" Priority="66" Name="Medium List 2 Accent 1"/>
<w:LsdException Locked="false" Priority="67" Name="Medium Grid 1 Accent 1"/>
<w:LsdException Locked="false" Priority="68" Name="Medium Grid 2 Accent 1"/>
<w:LsdException Locked="false" Priority="69" Name="Medium Grid 3 Accent 1"/>
<w:LsdException Locked="false" Priority="70" Name="Dark List Accent 1"/>
<w:LsdException Locked="false" Priority="71" Name="Colorful Shading Accent 1"/>
<w:LsdException Locked="false" Priority="72" Name="Colorful List Accent 1"/>
<w:LsdException Locked="false" Priority="73" Name="Colorful Grid Accent 1"/>
<w:LsdException Locked="false" Priority="60" Name="Light Shading Accent 2"/>
<w:LsdException Locked="false" Priority="61" Name="Light List Accent 2"/>
<w:LsdException Locked="false" Priority="62" Name="Light Grid Accent 2"/>
<w:LsdException Locked="false" Priority="63" Name="Medium Shading 1 Accent 2"/>
<w:LsdException Locked="false" Priority="64" Name="Medium Shading 2 Accent 2"/>
<w:LsdException Locked="false" Priority="65" Name="Medium List 1 Accent 2"/>
<w:LsdException Locked="false" Priority="66" Name="Medium List 2 Accent 2"/>
<w:LsdException Locked="false" Priority="67" Name="Medium Grid 1 Accent 2"/>
<w:LsdException Locked="false" Priority="68" Name="Medium Grid 2 Accent 2"/>
<w:LsdException Locked="false" Priority="69" Name="Medium Grid 3 Accent 2"/>
<w:LsdException Locked="false" Priority="70" Name="Dark List Accent 2"/>
<w:LsdException Locked="false" Priority="71" Name="Colorful Shading Accent 2"/>
<w:LsdException Locked="false" Priority="72" Name="Colorful List Accent 2"/>
<w:LsdException Locked="false" Priority="73" Name="Colorful Grid Accent 2"/>
<w:LsdException Locked="false" Priority="60" Name="Light Shading Accent 3"/>
<w:LsdException Locked="false" Priority="61" Name="Light List Accent 3"/>
<w:LsdException Locked="false" Priority="62" Name="Light Grid Accent 3"/>
<w:LsdException Locked="false" Priority="63" Name="Medium Shading 1 Accent 3"/>
<w:LsdException Locked="false" Priority="64" Name="Medium Shading 2 Accent 3"/>
<w:LsdException Locked="false" Priority="65" Name="Medium List 1 Accent 3"/>
<w:LsdException Locked="false" Priority="66" Name="Medium List 2 Accent 3"/>
<w:LsdException Locked="false" Priority="67" Name="Medium Grid 1 Accent 3"/>
<w:LsdException Locked="false" Priority="68" Name="Medium Grid 2 Accent 3"/>
<w:LsdException Locked="false" Priority="69" Name="Medium Grid 3 Accent 3"/>
<w:LsdException Locked="false" Priority="70" Name="Dark List Accent 3"/>
<w:LsdException Locked="false" Priority="71" Name="Colorful Shading Accent 3"/>
<w:LsdException Locked="false" Priority="72" Name="Colorful List Accent 3"/>
<w:LsdException Locked="false" Priority="73" Name="Colorful Grid Accent 3"/>
<w:LsdException Locked="false" Priority="60" Name="Light Shading Accent 4"/>
<w:LsdException Locked="false" Priority="61" Name="Light List Accent 4"/>
<w:LsdException Locked="false" Priority="62" Name="Light Grid Accent 4"/>
<w:LsdException Locked="false" Priority="63" Name="Medium Shading 1 Accent 4"/>
<w:LsdException Locked="false" Priority="64" Name="Medium Shading 2 Accent 4"/>
<w:LsdException Locked="false" Priority="65" Name="Medium List 1 Accent 4"/>
<w:LsdException Locked="false" Priority="66" Name="Medium List 2 Accent 4"/>
<w:LsdException Locked="false" Priority="67" Name="Medium Grid 1 Accent 4"/>
<w:LsdException Locked="false" Priority="68" Name="Medium Grid 2 Accent 4"/>
<w:LsdException Locked="false" Priority="69" Name="Medium Grid 3 Accent 4"/>
<w:LsdException Locked="false" Priority="70" Name="Dark List Accent 4"/>
<w:LsdException Locked="false" Priority="71" Name="Colorful Shading Accent 4"/>
<w:LsdException Locked="false" Priority="72" Name="Colorful List Accent 4"/>
<w:LsdException Locked="false" Priority="73" Name="Colorful Grid Accent 4"/>
<w:LsdException Locked="false" Priority="60" Name="Light Shading Accent 5"/>
<w:LsdException Locked="false" Priority="61" Name="Light List Accent 5"/>
<w:LsdException Locked="false" Priority="62" Name="Light Grid Accent 5"/>
<w:LsdException Locked="false" Priority="63" Name="Medium Shading 1 Accent 5"/>
<w:LsdException Locked="false" Priority="64" Name="Medium Shading 2 Accent 5"/>
<w:LsdException Locked="false" Priority="65" Name="Medium List 1 Accent 5"/>
<w:LsdException Locked="false" Priority="66" Name="Medium List 2 Accent 5"/>
<w:LsdException Locked="false" Priority="67" Name="Medium Grid 1 Accent 5"/>
<w:LsdException Locked="false" Priority="68" Name="Medium Grid 2 Accent 5"/>
<w:LsdException Locked="false" Priority="69" Name="Medium Grid 3 Accent 5"/>
<w:LsdException Locked="false" Priority="70" Name="Dark List Accent 5"/>
<w:LsdException Locked="false" Priority="71" Name="Colorful Shading Accent 5"/>
<w:LsdException Locked="false" Priority="72" Name="Colorful List Accent 5"/>
<w:LsdException Locked="false" Priority="73" Name="Colorful Grid Accent 5"/>
<w:LsdException Locked="false" Priority="60" Name="Light Shading Accent 6"/>
<w:LsdException Locked="false" Priority="61" Name="Light List Accent 6"/>
<w:LsdException Locked="false" Priority="62" Name="Light Grid Accent 6"/>
<w:LsdException Locked="false" Priority="63" Name="Medium Shading 1 Accent 6"/>
<w:LsdException Locked="false" Priority="64" Name="Medium Shading 2 Accent 6"/>
<w:LsdException Locked="false" Priority="65" Name="Medium List 1 Accent 6"/>
<w:LsdException Locked="false" Priority="66" Name="Medium List 2 Accent 6"/>
<w:LsdException Locked="false" Priority="67" Name="Medium Grid 1 Accent 6"/>
<w:LsdException Locked="false" Priority="68" Name="Medium Grid 2 Accent 6"/>
<w:LsdException Locked="false" Priority="69" Name="Medium Grid 3 Accent 6"/>
<w:LsdException Locked="false" Priority="70" Name="Dark List Accent 6"/>
<w:LsdException Locked="false" Priority="71" Name="Colorful Shading Accent 6"/>
<w:LsdException Locked="false" Priority="72" Name="Colorful List Accent 6"/>
<w:LsdException Locked="false" Priority="73" Name="Colorful Grid Accent 6"/>
<w:LsdException Locked="false" Priority="19" QFormat="true"
Name="Subtle Emphasis"/>
<w:LsdException Locked="false" Priority="21" QFormat="true"
Name="Intense Emphasis"/>
<w:LsdException Locked="false" Priority="31" QFormat="true"
Name="Subtle Reference"/>
<w:LsdException Locked="false" Priority="32" QFormat="true"
Name="Intense Reference"/>
<w:LsdException Locked="false" Priority="33" QFormat="true" Name="Book Title"/>
<w:LsdException Locked="false" Priority="37" SemiHidden="true"
UnhideWhenUsed="true" Name="Bibliography"/>
<w:LsdException Locked="false" Priority="39" SemiHidden="true"
UnhideWhenUsed="true" QFormat="true" Name="TOC Heading"/>
<w:LsdException Locked="false" Priority="41" Name="Plain Table 1"/>
<w:LsdException Locked="false" Priority="42" Name="Plain Table 2"/>
<w:LsdException Locked="false" Priority="43" Name="Plain Table 3"/>
<w:LsdException Locked="false" Priority="44" Name="Plain Table 4"/>
<w:LsdException Locked="false" Priority="45" Name="Plain Table 5"/>
<w:LsdException Locked="false" Priority="40" Name="Grid Table Light"/>
<w:LsdException Locked="false" Priority="46" Name="Grid Table 1 Light"/>
<w:LsdException Locked="false" Priority="47" Name="Grid Table 2"/>
<w:LsdException Locked="false" Priority="48" Name="Grid Table 3"/>
<w:LsdException Locked="false" Priority="49" Name="Grid Table 4"/>
<w:LsdException Locked="false" Priority="50" Name="Grid Table 5 Dark"/>
<w:LsdException Locked="false" Priority="51" Name="Grid Table 6 Colorful"/>
<w:LsdException Locked="false" Priority="52" Name="Grid Table 7 Colorful"/>
<w:LsdException Locked="false" Priority="46"
Name="Grid Table 1 Light Accent 1"/>
<w:LsdException Locked="false" Priority="47" Name="Grid Table 2 Accent 1"/>
<w:LsdException Locked="false" Priority="48" Name="Grid Table 3 Accent 1"/>
<w:LsdException Locked="false" Priority="49" Name="Grid Table 4 Accent 1"/>
<w:LsdException Locked="false" Priority="50" Name="Grid Table 5 Dark Accent 1"/>
<w:LsdException Locked="false" Priority="51"
Name="Grid Table 6 Colorful Accent 1"/>
<w:LsdException Locked="false" Priority="52"
Name="Grid Table 7 Colorful Accent 1"/>
<w:LsdException Locked="false" Priority="46"
Name="Grid Table 1 Light Accent 2"/>
<w:LsdException Locked="false" Priority="47" Name="Grid Table 2 Accent 2"/>
<w:LsdException Locked="false" Priority="48" Name="Grid Table 3 Accent 2"/>
<w:LsdException Locked="false" Priority="49" Name="Grid Table 4 Accent 2"/>
<w:LsdException Locked="false" Priority="50" Name="Grid Table 5 Dark Accent 2"/>
<w:LsdException Locked="false" Priority="51"
Name="Grid Table 6 Colorful Accent 2"/>
<w:LsdException Locked="false" Priority="52"
Name="Grid Table 7 Colorful Accent 2"/>
<w:LsdException Locked="false" Priority="46"
Name="Grid Table 1 Light Accent 3"/>
<w:LsdException Locked="false" Priority="47" Name="Grid Table 2 Accent 3"/>
<w:LsdException Locked="false" Priority="48" Name="Grid Table 3 Accent 3"/>
<w:LsdException Locked="false" Priority="49" Name="Grid Table 4 Accent 3"/>
<w:LsdException Locked="false" Priority="50" Name="Grid Table 5 Dark Accent 3"/>
<w:LsdException Locked="false" Priority="51"
Name="Grid Table 6 Colorful Accent 3"/>
<w:LsdException Locked="false" Priority="52"
Name="Grid Table 7 Colorful Accent 3"/>
<w:LsdException Locked="false" Priority="46"
Name="Grid Table 1 Light Accent 4"/>
<w:LsdException Locked="false" Priority="47" Name="Grid Table 2 Accent 4"/>
<w:LsdException Locked="false" Priority="48" Name="Grid Table 3 Accent 4"/>
<w:LsdException Locked="false" Priority="49" Name="Grid Table 4 Accent 4"/>
<w:LsdException Locked="false" Priority="50" Name="Grid Table 5 Dark Accent 4"/>
<w:LsdException Locked="false" Priority="51"
Name="Grid Table 6 Colorful Accent 4"/>
<w:LsdException Locked="false" Priority="52"
Name="Grid Table 7 Colorful Accent 4"/>
<w:LsdException Locked="false" Priority="46"
Name="Grid Table 1 Light Accent 5"/>
<w:LsdException Locked="false" Priority="47" Name="Grid Table 2 Accent 5"/>
<w:LsdException Locked="false" Priority="48" Name="Grid Table 3 Accent 5"/>
<w:LsdException Locked="false" Priority="49" Name="Grid Table 4 Accent 5"/>
<w:LsdException Locked="false" Priority="50" Name="Grid Table 5 Dark Accent 5"/>
<w:LsdException Locked="false" Priority="51"
Name="Grid Table 6 Colorful Accent 5"/>
<w:LsdException Locked="false" Priority="52"
Name="Grid Table 7 Colorful Accent 5"/>
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<!--StartFragment-->
<br />
<br />
<div class="MsoNormal">
<o:p> </o:p><span style="font-size: 12pt;">Juhi Chaturvedi’ script, “October”, directed by Shoojit Sircar,
refuses to leave you once it ends. There is a contemplative, aching tone which
seeps into your being like Shantanu Moitra’s soft soundtrack which is more
silent in its approach; like the shadow of a tree getting larger while the tree
stays still.</span></div>
<div class="MsoNormal">
<o:p></o:p></div>
<div class="MsoNormal">
<br /></div>
<div class="MsoNormal">
There is no plot, no action, no entertainment, not even a second-long
emotional melodrama given the premise of a tragic event changing the lives of
those around. There is no hero and no heroine. There is no Varun Dhawan (for
the fans). There is no villain.<o:p></o:p></div>
<div class="MsoNormal">
<br /></div>
<div class="MsoNormal">
There is a lost 21-year-old boy: Dan (Dhawan). He is a Hotel
Management trainee who doesn’t want to clean bed sheets. His father is based in
Jammu and he has come to Intern at a 5-star hotel. He wants his own Start-Up
some day and constantly whines about being given useless work of vacuum
cleaning the hotel rooms.<o:p></o:p></div>
<div class="MsoNormal">
<br /></div>
<div class="MsoNormal">
There is a 20-year-old, bright and sincere girl called Shiuli
(Banita Sandhu). Shiuli does her job really well and is always given the more
popular responsibilities of serving the hotel customers at reception desks. She
doesn’t take Dan’s digs at her personally. “<i style="mso-bidi-font-style: normal;">Itni
intelligent hai to scientist kyon nahin bani…hotel management kyon kar rai hai</i>…”
,he objects rudely to the seniors who praise her. Shiuli simply ignores him,
even when he mocks her fondness for collecting her favourite seasonal October
flowers: Parijat ( Coral Jasmine).<o:p></o:p></div>
<div class="MsoNormal">
<br /></div>
<div class="MsoNormal">
The flowers are the only predictable symbolic objects here. The
tree is called the ‘tree of sorrow”. When first seen through Avik Mukhopadhyay’s
lens, they look like a hazy and beautiful early morning dream. The screen looks
magical with trees bearing the fresh and pure white flowers. We see them
through Shiuli’s wondrous eyes and we are filled with the sense of wonder
ourselves. Later, the flowers make occasional, fleeting appearances as a
reminder of what October is all about: fleeting seasons of change and the
beauty of each and the inevitable sense of waiting and sorrow.<o:p></o:p></div>
<div class="MsoNormal">
<br /></div>
<div class="MsoNormal">
Waiting is all one can do, when the course of life changes
its turns, just like the course of nature. So Dan waits. Along with Shiuli’s
mother, sister, a teenage brother, for Shuili to move a muscle, to simple twitch
her jaw or shift her eyeballs: left to say ‘yes’ to the doctor’s question,
right to say ‘no’. Her still form, lying in a hospital bed is an excruciating
sight to behold. It is merely addressed by the most inane conversation that
only two scared and ignorant youngsters can have.<o:p></o:p></div>
<div class="MsoNormal">
<br /></div>
<div class="MsoNormal">
“There were 19 tubes on her body.’<o:p></o:p></div>
<div class="MsoNormal">
“<i style="mso-bidi-font-style: normal;">Tune gine</i>?”<o:p></o:p></div>
<div class="MsoNormal">
……..<i style="mso-bidi-font-style: normal;">tu kabhi ICU gaya
hai</i>?<o:p></o:p></div>
<div class="MsoNormal">
<i style="mso-bidi-font-style: normal;">Main do baar gaya hoon</i><o:p></o:p></div>
<div class="MsoNormal">
<i style="mso-bidi-font-style: normal;">Kab?<o:p></o:p></i></div>
<div class="MsoNormal">
<i style="mso-bidi-font-style: normal;">Kal ur aaj</i>.”<o:p></o:p></div>
<div class="MsoNormal">
<i style="mso-bidi-font-style: normal;">…yaar meri hawa nikal
gayi thi…”<o:p></o:p></i></div>
<div class="MsoNormal">
<br /></div>
<div class="MsoNormal">
Light, shallow, realistic moments like these, ease the pain
of waiting and watching. But the film does not shy away from the helplessness
of it all. There is no attempt at heroic drama of Dan turning into the star
Varun Dhawan who will suddenly claim to fall in love and magically find the
resources to fly Shuili out somewhere in Karan Johar’s world of “Kal Ho Na Ho”
or the tragic interplay of lost love. Instead we see Dan simply searching for
his visiting card under Shuili’s hospital bed just as a visitor friend would,
inquisitively looking at the bottle of urine under the bed and discussing it
with the nurse and even finding hope in the body continuing to do its function
while the brain may take its time to respond.<o:p></o:p></div>
<div class="MsoNormal">
<br /></div>
<div class="MsoNormal">
And just like that, without a major, dramatic turning point,
the mood of the film changes from the mundane of hotel laundry and vaccum jobs
to a shocking life event to endless and futile human queries at a hospital to
the only one wonder of life : HOPE.<o:p></o:p></div>
<div class="MsoNormal">
<br /></div>
<div class="MsoNormal">
Hope in the form of a urine pouch filling up more as days go
by; hope in the form of Jasmine flower petals bringing the sense of smell
alive, in an otherwise lifeless body; hope in the form of a positive change
coming over a lost boy who sees more meaning in simply hanging out with a
family waiting at a hospital, than in trying to keep his job; hope in the form
of a mother reaching out to another (devoid of histrionics and yet leave you
moist eyed); <span style="mso-spacerun: yes;"> </span>hope in the form of colleagues
connecting at the only level which matters—that of being simply human.<o:p></o:p></div>
<div class="MsoNormal">
<br /></div>
<div class="MsoNormal">
“October” may not entertain or engage like Shoojit and
Juhi’s “Vicky Donor’ or “Piku”, but it makes that deep human connect, without
the laughter or tears, a single playing-to –the-gallery dialogue or songs. Only
one simple line matters here: “Where is Dan?” It’s an almost perfunctory
question which changes the way a man perceives himself. It does a classic job
of showcasing the ultimate human need to be needed, to be noticed, to be given
the importance he craves.<o:p></o:p></div>
<div class="MsoNormal">
<br /></div>
<div class="MsoNormal">
In its gentle, flowing narrative and meditative contemplation
of life and its coming of age journey with apt rest house locations of a hotel
and a hospital with the beautiful tree providing the answers, the stillness
travels with you outside the theatre, onto the desperate busy streets. And you
take that time to stand and stare, smell that rose, smile at that stranger and
talk to a friend with more empathy.<o:p></o:p></div>
<div class="MsoNormal">
<br /></div>
<div class="MsoNormal">
That lasting, much needed theme of empathy is “October’s
true and meaningful gift.<o:p></o:p></div>
<div class="MsoNormal">
<br /></div>
<div class="MsoNormal">
<br /></div>
<div class="MsoNormal">
<br /></div>
<div class="MsoNormal">
<br /></div>
<div class="MsoNormal">
<br /></div>
<!--EndFragment--><br /></div>
gayatri gaurihttp://www.blogger.com/profile/04375543035604734663noreply@blogger.com0tag:blogger.com,1999:blog-3870014331053487904.post-43450958577621749212018-02-06T21:35:00.000-08:002018-02-06T21:52:33.508-08:00PADMAAVAT: THE EPIC FOLLY OF SANJAY LEELA BHANSALI’S WONDERLAND<div dir="ltr" style="text-align: left;" trbidi="on">
<div class="MsoNormal">
<span style="background: white; color: #222222; font-family: Verdana; font-size: 10.0pt; mso-bidi-font-family: "Times New Roman"; mso-bidi-font-weight: bold; mso-fareast-font-family: "Times New Roman";"><br /></span></div>
<div class="MsoNormal">
<span style="background: white; color: #222222; font-family: Verdana; font-size: 10.0pt; mso-bidi-font-family: "Times New Roman"; mso-bidi-font-weight: bold; mso-fareast-font-family: "Times New Roman";">“….<i style="mso-bidi-font-style: normal;">binte dil misriya mein<b><br />
</b></i></span><span style="color: #222222; font-family: Verdana; font-size: 10.0pt; mso-bidi-font-family: "Times New Roman"; mso-fareast-font-family: "Times New Roman";"><br />
<span style="background: white;">(the girl of heart is in Egypt.)</span><br />
<i style="mso-bidi-font-style: normal;"><br />
<span style="background: white; mso-bidi-font-weight: bold;">pesh hai kul shabaab<br />
khidmat-e-aali janaab<br />
aatish-kada adaaon se<br />
aatish-kada adaaon se<br />
jal uThega aapke<br />
deeda-e-tar ka hijaab</span></i><b><span style="background: white;"><br />
</span></b><br /><br />
<span style="background: white;">( you'll forget all your sorrow under
the effect of my beauty.)<o:p></o:p></span></span></div>
<div class="MsoNormal">
<br /></div>
<div class="MsoNormal">
<span style="background: white; color: #222222; font-family: Verdana; font-size: 10.0pt; mso-bidi-font-family: "Times New Roman"; mso-bidi-font-weight: bold; mso-fareast-font-family: "Times New Roman";">….<i style="mso-bidi-font-style: normal;">binte dil misriya mein<o:p></o:p></i></span></div>
<div class="MsoNormal">
<b><i style="mso-bidi-font-style: normal;"><span style="background: white; color: #222222; font-family: Verdana; font-size: 10.0pt; mso-bidi-font-family: "Times New Roman"; mso-fareast-font-family: "Times New Roman";"><br />
</span></i></b><i style="mso-bidi-font-style: normal;"><span style="background: white; color: #222222; font-family: Verdana; font-size: 10.0pt; mso-bidi-font-family: "Times New Roman"; mso-bidi-font-weight: bold; mso-fareast-font-family: "Times New Roman";">binte dil misriya mein…”<b><br style="mso-special-character: line-break;" />
<!--[if !supportLineBreakNewLine]--><br style="mso-special-character: line-break;" />
<!--[endif]--></b></span></i><span style="color: #222222; font-family: Verdana; font-size: 10.0pt; mso-bidi-font-family: "Times New Roman"; mso-fareast-font-family: "Times New Roman";"><o:p></o:p></span></div>
<div class="MsoNormal">
<span style="color: #222222; font-family: Verdana; font-size: 10.0pt; mso-bidi-font-family: "Times New Roman"; mso-fareast-font-family: "Times New Roman";">In this beautiful song, with an Arabic tune, a lover attempts to
express his own love in a quest to draw the attention to the present moment of
unspoken passion. Only, in this case, the singer is a man opening his heart to
another man lost and blinded in his own lust for a woman whose beauty he has
not glimpsed but only imagined. So lost is this man, that he barely hears the pain
and the longing of his slave. Instead he starts swaying in lunatic joy,
sprawled in his huge bathtub.<o:p></o:p></span></div>
<div class="MsoNormal">
<br /></div>
<div class="MsoNormal">
<span style="color: #222222; font-family: Verdana; font-size: 10.0pt; mso-bidi-font-family: "Times New Roman"; mso-fareast-font-family: "Times New Roman";">The tragic notes of the song, completely disappear in the
sudden, Eastern<span style="mso-spacerun: yes;"> </span>Opera turned comic show.
Much reminiscient of Shah Rukh Khan’s Devdas mourning his father’s death, alone
in the Ganges, performing his own <i style="mso-bidi-font-style: normal;">shraadh,
</i>pouring alcohol over himself as he drowns himself in his sorrow, literally.
Only, the entire scene starting off on the highly dramatic note of him
bemoaning his losses while sprawled drunk on a boat, coming to a crescendo as
he wades into the water; works not because of Devdas and his alcohol dipped
lines but because of his loyal man servant’s sobbing reactions.<o:p></o:p></span></div>
<div class="MsoNormal">
<br /></div>
<div class="MsoNormal">
<span style="color: #222222; font-family: Verdana; font-size: 10.0pt; mso-bidi-font-family: "Times New Roman"; mso-fareast-font-family: "Times New Roman";">Likewise, in ‘Padmaavat’, we see more longing and pathos in
Alauddin Khilji’s slave, Malik Kafur ’s declaration of unabashed love in this
Arabic tune ballad, written by A M Turaz and sung beautifully by Arijit Singh.
So powerful is Jim Sarbh’s performance in this rather challenging part of a
homosexual who can be as cruel as he is devoted, that the rest of the
characters and the movie based on the victory of duty and honour over extreme
evil and lust, seem like mere loosely flying music notes in the air: a distant
background score.<o:p></o:p></span></div>
<div class="MsoNormal">
<br /></div>
<div class="MsoNormal">
<span style="color: #222222; font-family: Verdana; font-size: 10.0pt; mso-bidi-font-family: "Times New Roman"; mso-fareast-font-family: "Times New Roman";">And that’s where the director, Sanjy Leela Bhansali fails.
Bhansali is quite like that lost man- the evil Alauddin Khilji. Khilji is so blinded
by his own madness for conquest, be it Chittor or the beautiful queen of Chittor,
that he fails to see the impossibility of a sheer fantasy he has never as much
as glimpsed. Just like Khilji, Bhansali too,<span style="mso-spacerun: yes;">
</span>is sunk too deep in his imaginative over indulgence of the senses. <o:p></o:p></span></div>
<div class="MsoNormal">
<br /></div>
<div class="MsoNormal">
<span style="color: #222222; font-family: Verdana; font-size: 10.0pt; mso-bidi-font-family: "Times New Roman"; mso-fareast-font-family: "Times New Roman";">He falls in his own trap of creating a storm much like the
constant, majestic visuals of the sand storms and clouds of dust covering
entire celluloid frames for long seconds; and forgetting the real saga
underneath. He is magical at weaving threads into gorgeous vermilion silk
chunris draping a screen full of women swirling to the lovely folk tunes of
“Ghoomar” or bravely marching, in throngs of bright red, towards a scorching
fire. The blinding colours, the beauty of shining pearls and the ever present chandeliers,
the sound of bangles and anklets, the sight of a lithe fairy like princess
chasing a deer, bow and arrow in hand; are straight out of the Bhansali
wonderland of perfectly created sets where fortress walls form a magnificent
landscape of conflict and challenge. We don’t just have stunningly
choreographed songs but also every sequence is a carefully choreographed mini
theatrical drama leading a to a long, orchestrated climax which leaves you at
once full of awe. <o:p></o:p></span></div>
<div class="MsoNormal">
<br /></div>
<div class="MsoNormal">
<span style="color: #222222; font-family: Verdana; font-size: 10.0pt; mso-bidi-font-family: "Times New Roman"; mso-fareast-font-family: "Times New Roman";">Yet, completely unmoved.<o:p></o:p></span></div>
<div class="MsoNormal">
<br /></div>
<div class="MsoNormal">
<span style="color: #222222; font-family: Verdana; font-size: 10.0pt; mso-bidi-font-family: "Times New Roman"; mso-fareast-font-family: "Times New Roman";">How is it even possible that melodious song compositions like “<i style="mso-bidi-font-style: normal;">Ek dil hai, ek jaan hain..”</i><span style="mso-spacerun: yes;"> </span>in Padmaavat or “<i style="mso-bidi-font-style: normal;">Tera zikr hai</i> …” in Guzzarish, both composed by Bhansali, end up as
mere beautiful notes without soul? So intent and obsessed is Bhansali, on
creating a visual spectacle out of climax sequences like the palatial gates
closing in Devdas as Aishwarya’s Paro runs in wild pathos, and the soundtrack “<i style="mso-bidi-font-style: normal;">ta nom tara dehere na</i>…” plays out the
tragic notes, that he loses the sight and more importantly the ‘feel’ of that particular
moment? <o:p></o:p></span></div>
<div class="MsoNormal">
<br /></div>
<div class="MsoNormal">
<span style="color: #222222; font-family: Verdana; font-size: 10.0pt; mso-bidi-font-family: "Times New Roman"; mso-fareast-font-family: "Times New Roman";">In ‘Padmavati’, the beginning has a still painting, with a very
somber note of “<i style="mso-bidi-font-style: normal;">Rani sa</i>” track
playing. Bhansali’s careful opera and choreography is mounted beautifully here
onwards, but loses its impact by the time it strikes the crescendo in the
climax. While we see the brave women marching towards their act of <i style="mso-bidi-font-style: normal;">Jauhar</i> and the glorious Deepika Padukone
in all her refinery, her head held high, carrying her husband’s hand prints on
a white cloth like a <i style="mso-bidi-font-style: normal;">kafan</i>; we don’t
really see the love or even chemistry between the king and the queen. Dramatic
lines are exchanged between the two, their eyes shining as much as their
glittering ornaments. But none translate into deep, abiding love. <o:p></o:p></span></div>
<div class="MsoNormal">
<br /></div>
<div class="MsoNormal">
<span style="color: #222222; font-family: Verdana; font-size: 10.0pt; mso-bidi-font-family: "Times New Roman"; mso-fareast-font-family: "Times New Roman";">After all, the focus remains the villain of the cinematic
ouvre—the two plaited Khilji who wears his two scars below his left eye, like
medals. Khilji’s evilness, so vile and foul, straight out of childrens’ comic
books, may not be new or even multilayered. But there is great potential in his
story of lust that brings this love story to dust and ashes. That is the story
that fascinates more, much like the perverse gluttony of senses. Bizaarely,
this monster who bites into meat like an animal that he is, suddenly exhibits
shades of human when he asks his slave if there is a line indicating ‘ <i style="mso-bidi-font-style: normal;">mohabbat’</i> fate in his palms dirtied with
blood all these years. Perhaps, Bhansali should have titled this film, “Khilji”
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<span style="color: #222222; font-family: Verdana; font-size: 10.0pt; mso-bidi-font-family: "Times New Roman"; mso-fareast-font-family: "Times New Roman";">Unbelievable moments like these, empty dialogues galore, about a
Rajput’s valour and ridiculous sights of a headless Rajput soldier continuing
to fight with his sword; try to fill up the sound and imagery on this Bhansali canvas
overcrowded with costume extravaganza. What’s missing is a script that needed
to be filled first with a story about a brave king, a queen whose fabled beauty
invited an evil invader to bring about a tragic death by fire. <o:p></o:p></span></div>
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<span style="color: #222222; font-family: Verdana; font-size: 10.0pt; mso-bidi-font-family: "Times New Roman"; mso-fareast-font-family: "Times New Roman";">And that is Bhansali’s epic failure to capture the essence of Sufi
poet, Jayasi’s work. A three hour work of choreography, a song without soul, an
opera reduced to a <i style="mso-bidi-font-style: normal;">tamasha</i> that is
preceded by Karni Sena drama involving a nose and followed by a more
ridiculous, attention seeking furore involving a vagina. <o:p></o:p></span></div>
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gayatri gaurihttp://www.blogger.com/profile/04375543035604734663noreply@blogger.com0tag:blogger.com,1999:blog-3870014331053487904.post-43757718072371291412018-02-06T21:13:00.000-08:002018-02-06T21:13:10.505-08:00Irrfan Khan's Yogi in Qarib Qarib Singlle is quite the unsuitable boy; or is he?<div dir="ltr" style="text-align: left;" trbidi="on">
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<span style="background-color: white; color: #4d4d4d; font-family: robotoregular; font-size: 18px;">The best moments in </span><em style="background-color: white; box-sizing: border-box; color: #4d4d4d; font-family: robotoregular; font-size: 18px;">Qarib Qarib Singlle</em><span style="background-color: white; color: #4d4d4d; font-family: robotoregular; font-size: 18px;"> come courtesy small gestures by the characters. Like the one when Yogi (Irrfan Khan) instinctively opens a cab door for the driver who is about to do the same for Yogi, the passenger. The moment does not end there: a long romantic scene between Yogi and his co-passenger, Jaya (Parvathy; utterly sweet) follows, with the cab driver as an unobtrusive witness. You forget all about this minor character as you get absorbed in the sensual mood building up between the romantic leads – until later, when the cab driver gives a piece of wisdom to Yogi. In appreciation, Yogi slips him something precious as an exchange. It’s not a tip. It’s a plot point.</span><br />
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<span style="background-color: white; color: #4d4d4d; font-family: robotoregular; font-size: 18px;">Such moments are not new, especially in the romance genre. One of my favourite similar exchanges is between Richard Gere and the hotel manager in </span><em style="background-color: white; box-sizing: border-box; color: #4d4d4d; font-family: robotoregular; font-size: 18px;">Pretty Woman</em><span style="background-color: white; color: #4d4d4d; font-family: robotoregular; font-size: 18px;">, which leads to Gere’s ultimate realisation that he’s in love with Julia Roberts’ character. </span><em style="background-color: white; box-sizing: border-box; color: #4d4d4d; font-family: robotoregular; font-size: 18px;">QQS</em><span style="background-color: white; color: #4d4d4d; font-family: robotoregular; font-size: 18px;"> makes these moments special because there are no long camera holds to underline any significant depth. They simply breeze along like the character — Yogi himself.</span><br />
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Yogi is one of the best characters to be written in Indian coming-of-age romances in recent times. He is not young like Sid in <em style="box-sizing: border-box;">Wake Up Sid</em>. Thankfully. He is a mature 40-year-old, and unabashedly annoying. When you see him first, he is perspiring, and sporting a garish red jacket. This is how we (and Jaya on her first date with Yogi) see him. Perfect rejection material, you would think. Next he throws up a lame wisecrack: “<em style="box-sizing: border-box;">Do</em> latte <em style="box-sizing: border-box;">lana...laatein nahin!</em>” He shakes with laughter at his own joke while Jaya stares back, unamused. By the time the coffee date is over, you and of course, Jaya, are interested enough to want another date. And irrationally enough, even go to Gangtok with him.</div>
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You see, he has two irresistible traits. One is that he is a poet and wit, candour, charm and sharp observations simply pour out of him. In contrast, Jaya, always wary, speaks little. When she starts texting on her phone, he points out: “Z<em style="box-sizing: border-box;">abaan kum bolti hai lekin ungliyan tez chalti hain</em>!” Two, he’s a through gentleman, helping Jaya shake off the creeps she’s met on the same dating site as Yogi. Now, here’s the interesting part: Yogi is no knight in shining red jacket, out to rescue a damsel. This is more of a ploy to get his date to trust him. Jaya catches on and asks him: “You’re not a stalker, are you?”</div>
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No, but he is the good old-fashioned guy who pursues with you with words and his life experiences. The kind of guy who thinks poetry isn’t for a Facebook status to get 1,000 likes, but to make it to a book that will be savoured by a reader. That makes you sigh for the magic of words, for honest conversations, for eyes that speak – just as Yogi’s do, when he stares into Jaya’s bespectacled eyes, ignoring an incessantly ringing phone.</div>
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When a seemingly harmless scene revolving around <em style="box-sizing: border-box;">pakodas</em> ends up becoming a serious, contentious one, you realise that it is mundane matters like these, not the candle-lit dinners and song-and-dance sequences that make <em style="box-sizing: border-box;">Qarib Qarib Singlle</em> stand out as a gem in the romance genre in Hindi cinema.</div>
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In this fine and deliberately meandering road film made by Tanuja Chandra, and co- written with brilliant dialogues by Gazal Dhaliwal, the hero may wax eloquent in poetry but he is also full of himself. And he snores. This character is <em style="box-sizing: border-box;">qarib qarib</em> annoying, but <em style="box-sizing: border-box;">bilkul bilkul</em> adorable.</div>
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Published Date: Nov 12, 2017 ?Firstpost.com</div>
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gayatri gaurihttp://www.blogger.com/profile/04375543035604734663noreply@blogger.com0tag:blogger.com,1999:blog-3870014331053487904.post-32088906949819513132018-02-06T21:10:00.000-08:002018-02-06T21:10:00.078-08:00Daddy: Arjun Rampal gives his heart, body and nose to the film, but is let down by Ashim Ahluwalia<div dir="ltr" style="text-align: left;" trbidi="on">
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The first time you see him, it’s through a glass wall. Light tinted, slightly oversized sunglasses and a small, neat moustache embellish the face, carefully half hidden in profile. He hasn’t spoken and you don’t take much notice of him except as a big gangster, Maqsood (read Dawood). He is, apparently, a man of some importance. We know this because he has a sidekick who addresses him as “Bhai”.</div>
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The second time you see him, he is seated in a car. He is dressed in a printed silk shirt. His hair is long and thick and the camera is close enough to see his eyes through those light gold shades. And then he speaks. The unmistakable grainy voice belongs to Farhan Akhtar. The hitherto dull and dim lit screen, suddenly lights up. The rest of the long hour and a half, you wait for the next glimpse of Bhai.</div>
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Oh, but isn’t this film about Arun Gawli, the gangster who became known as <em style="box-sizing: border-box;">Daddy</em>Unfortunately, yes. It is also a film that attempts to walk the thin line between the real and commercial cinema. But how real can a movie be, without it being a documentary?</div>
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In the previous scene with Bhai, the men, sort of huddled outside, are being given an important assignment. One of them dares to enquire about the payment. He is Arun Gawli, a small time goon from Dagdi Chawl in Mumbai’s Byculla area.</div>
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If Farhan Akhtar is unrecognizable, with the perfect detailing of the underworld man from the eighties; Arjun Rampal as Arun Gawli fondly called Daddy, is equally nondescript behind the prosthetic big nose and long hair. Utmost care has been taken to recreate the real world of a man whose humble beginnings in the 70s and 80s are traced to a place called Dagdi Chawl.</div>
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The old staircases, the crowded, long balconies, the small rooms with faded, cracked paint and weak, wooden doors — are painstakingly lit with dim light to show a world as dark as Gawli is made to be. This is that Mumbai <em style="box-sizing: border-box;">chawl </em> where he woos a Muslim girl across the balcony and eventually marries her. This is the unsafe place which he builds into a mini fortress, armed with his faithful men and guns. This is where crossfires are exchanged every time the cops come to get him. This is the hideout where he religiously prays to his God — Shiv Shambho.</div>
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This is the home where he holds his baby and a gun with one hand and a toy rattle with another.</div>
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The latter, particular image should ideally evoke some strong, mixed emotions. But it doesn’t. In fact, the film, does not stir up any emotion, whatsoever.</div>
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<em style="box-sizing: border-box;">Daddy</em> has been positioned as a ‘real’ film with ‘commercial’ value given by Arjun Rampal’s name. But this faithfulness to the realistic feel, ends up overlooking the required drama and entertainment in films, which go beyond repeated shootouts. The silk shirts and the bell bottom pants also need some flesh, blood and soul, just like a simple Dagdi Chawl-made <em style="box-sizing: border-box;">vada pau</em>needs its dry garlic, and red, hot chutney.</div>
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Rampal’s Gawli says “<em style="box-sizing: border-box;">ikde ye</em>” quite comfortably but does not engage you with a real conversation after that.</div>
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The matter of fact tone is as dull as the Wikipedia page which informs you of as much as you see in the movie. The story had sufficient meat in the way three men — Baba (Anand), Ramu (Rajesh) and Arun (Arjun) — formed the BRA gang and their eventual journey. However, you never really get to know who they were as people or friends.</div>
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None of the fantastic detailing to recapture the '80s matters. The flat dialogues make the pace and the tone feel so stretched that the songs provide a welcome break. Particularly, an item number that reminds one of Parveen Babi in a gold, shimmery costume and of the popular disco beat.</div>
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Arjun Rampal seems to have given his heart, mind, body, soul and ‘nose’ to this film as actor, co-writer and producer. Hence, it’s disappointing to see it all ruined by director Ashim Ahulwalia who is obsessed with art direction and the costume department. The setting and sepia tones take precedence over the screenplay and the character.</div>
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This is not so surprising, considering his debut film — the Nawazuddin-starrer <em style="box-sizing: border-box;">Miss Lovely —</em> which drew some attention during film festivals but failed when released in theatres.</div>
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Rampal in <em style="box-sizing: border-box;">Daddy</em>, is like Aishwarya Rai in <em style="box-sizing: border-box;">Sarbjit</em>. Both are fighting their immense good looks and their image, with heartfelt sincerity. Rampal gives a satisfactory, restrained performance in <em style="box-sizing: border-box;">Daddy</em> but he needed better scenes, especially with the ineffective and badly miscast Nishikant Kamat who plays Inspector Vijaykar.</div>
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<em style="box-sizing: border-box;">Daddy</em> could have been like Ram Gopal Varma’s <em style="box-sizing: border-box;">Satya</em> but ends up as fake as Farhan’s character name, Maqsood, in its guise to be real. Was Dawood singing in their ears — “<em style="box-sizing: border-box;">main hoon kaun…main hoon, main hoon... DON</em>”?</div>
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gayatri gaurihttp://www.blogger.com/profile/04375543035604734663noreply@blogger.com0tag:blogger.com,1999:blog-3870014331053487904.post-4680228046603523602018-02-06T21:07:00.000-08:002018-02-06T21:07:05.528-08:00Babumoshai Bandookbaaz proves Nawazuddin Siddiqui is best suited to be a foil, not a star<div dir="ltr" style="text-align: left;" trbidi="on">
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<span style="background-color: white; color: #4d4d4d; font-family: robotoregular; font-size: 18px;">Nawazuddin Siddiqui has mentioned in his interviews that he watched </span><em style="background-color: white; box-sizing: border-box; color: #4d4d4d; font-family: robotoregular; font-size: 18px;">James Bond</em><span style="background-color: white; color: #4d4d4d; font-family: robotoregular; font-size: 18px;"> movies to get into his character for the film </span><em style="background-color: white; box-sizing: border-box; color: #4d4d4d; font-family: robotoregular; font-size: 18px;">Babumoshai Bandookbaaz</em><span style="background-color: white; color: #4d4d4d; font-family: robotoregular; font-size: 18px;">. After sitting through the absolutely meaningless film, you wonder just where does the similarity lies. Certainly not in the trigger-happy gun in his hand — that bit is </span><em style="background-color: white; box-sizing: border-box; color: #4d4d4d; font-family: robotoregular; font-size: 18px;">Gangs of Wasseypur</em><span style="background-color: white; color: #4d4d4d; font-family: robotoregular; font-size: 18px;"> part three. Perhaps, it’s those steamy scenes with the actresses, who are more smoking hot than the gun — Bidita Bag and Shraddha Das — and there are plenty of those. Not that they match for the kissing scenes in James Bond films, which proved to be too hot to handle for Pahlaj Nihalani in the last installment of the franchise.</span><br />
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But then, who goes for a Nawazuddin movie for the steamy scenes, vulgar language and violence? Ever since Nawazuddin played the title role in <em style="box-sizing: border-box;">Manjhi - The Mountain Man</em> in 2015, he has been given heavyweight films to carry all by himself on his talented shoulders. <em style="box-sizing: border-box;">Babumoshai Bandookbaaz</em> (the title is as pretentious as the film) is his third such film after <em style="box-sizing: border-box;">Raman Raghav 2.0</em>and <em style="box-sizing: border-box;">Haraamkhor</em>.</div>
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Are these script choices, along with the forgettable <em style="box-sizing: border-box;">Munna Michael</em>, really good enough for Nawazuddin?</div>
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<em style="box-sizing: border-box;">Raman Raghav 2.0</em> may fall into the same category of cinema that has previously explored his ability to play characters with a dark side, and had some shades of the sunglasses-wearing, confident romancer in <em style="box-sizing: border-box;">Gangs of Wasseypur</em>. However, <em style="box-sizing: border-box;">Babumoshai Bandookbaaz</em>, directed by Kushan Nandy, is obsessed with copying the mindless killings of <em style="box-sizing: border-box;">Gangs</em> rather than providing a cohesive story.</div>
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Every character in the film, including the women, is more unscrupulous than the next. Nawazuddin plays Babu, a contract killer. He finds himself pitted against a younger contract killer, Banke (Jatin Goswami), who is assigned to kill the same targets.</div>
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Lust is as prevalent as gunpowder dust in these hinterlands of Uttar Pradesh. Whether it the wife of a local politician who flirts away at parties before the amused eyes of her husband, or Banke’s girlfriend (Shraddha Das) who is Babu’s raunchy wife, Fulwa (Bidita Bag) or Jiji (Divya Dutta) who dirty-talks and is ready to do it in the fields, the women are as one-dimensional and dark as the men. The only redeeming character is the cop with a dozen children, played with natural ease by the pleasant looking Bhagwan Tiwari.</div>
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Surrounded by these characters, Nawazuddin is always in his element. However, his performance in the film does not match up to his portrayal of the ever-pleasing subordinate in <em style="box-sizing: border-box;">Lunch Box</em> or the sincere but comical Pakistani journalist Chand Nawab in <em style="box-sizing: border-box;">Bajrangi Bhaijaan.</em> It does not come close to his shameless baddie in <em style="box-sizing: border-box;">Badlapur,</em> his hard-nosed cop in <em style="box-sizing: border-box;">Raees,</em> or even his funny detective, who would constantly banter Sridevi in <em style="box-sizing: border-box;">Mom</em>.</div>
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Nawazuddin is no doubt one of the actors who is best equipped to can carry a film on his shoulders without the star baggage. This is an actor who can prove his worth with just a two-minute long scene, such as his appearance in <em style="box-sizing: border-box;">New York</em>. The scene where he describes his torture at the hands of the Americans owes its poignancy not to the dialogues, but to Nawazuddin's slight pauses and the pain in his eyes, which was not limited to tears alone. Of noteworthy mention is also the small part he played in <em style="box-sizing: border-box;">Peepli Live</em>; his portrayal of a journalist is far more memorable than an entire two-hour long film like <em style="box-sizing: border-box;">Babumoshai Bandookbaaz,</em> filled aimlessly with bullets and sex.</div>
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In this story of rampant treachery, it is Nawazuddin the actor who suffers the biggest betrayal. His real strength lies in his give-and-take with his co-actors on screen. There is something more magnetic about him when he shares the frame with Irrfan Khan, Shah Rukh or Sridevi. His humour seems more improvised than scripted, and hence, raw and delightful. For example, the way he reacts to a painting or the way he sings the Shammi Kapoor song<em style="box-sizing: border-box;">'Chaahe Mujhe Koi Junglee Kahe'</em> in <em style="box-sizing: border-box;">Mom</em>. In <em style="box-sizing: border-box;">Lunchbox</em>, he could have easily outweighed Irrfan’s presence, but he remained controlled and was thus the perfect foil for Irrfan. This is also true of him with Shahrukh in <em style="box-sizing: border-box;">Raees</em>, every time they shared the frame. The pleasure of watching Nawazuddin simply reacting to moments with a touch of that characteristic eccentricity doubles in the presence of another prominent actor.</div>
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gayatri gaurihttp://www.blogger.com/profile/04375543035604734663noreply@blogger.com0tag:blogger.com,1999:blog-3870014331053487904.post-65053742424206141052018-02-06T21:03:00.001-08:002018-02-06T21:03:15.855-08:00Jagga Jasoos: The fantastical madness to Anurag Basu and Ranbir Kapoor's methods<div dir="ltr" style="text-align: left;" trbidi="on">
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<em style="box-sizing: border-box;">Jagga Jasoos</em><span style="box-sizing: border-box;"> could easily be India’s <em style="box-sizing: border-box;">Harry Potter</em>-meets-<em style="box-sizing: border-box;">Tintin</em>’s -‘hair raising’-adventures. When Jagga was a little boy, he lost his parents, spent long, lonely years in a boarding school and waited every year for his birthday when a videocassette would arrive from his mysteriously missing foster father. Like Potter, in his growing years, he wears big, round glasses, and says very little. He stammers out a few words and is the cleverest child, who solves cases that revolve around murders, a teacher called Miss Mala and giant clock towers. Like Tintin, he wears his hair in a quiff. A very brief silhouette shot of just the back of his head, with the hair up against a porthole on a ship, is the memorable image from Ravi Varman’s stunning cinematography and an instant throwback tribute to the gentlest of comic book heroes. The magic here lies with Jagga’s creator— writer and director Anurag Basu, and the actor who slips easily into the trickiest of characters—Ranbir Kapoor.</span></div>
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<span style="box-sizing: border-box;">The duo worked together previously in <em style="box-sizing: border-box;">Barfi</em>, with Basu marvelously directing Kapoor's Chaplinesque acts. Basu had a field day, enjoying the visual brilliance he was creating (in his early days, he started out with a course in cinematography at FTII) while using Ranbir’s characterisation of a dumb and deaf boy to tell a story that relies more on images than words. </span><span style="box-sizing: border-box;">Now, the two go further and take another leap of imagination, combining their talents and several genres of filmmaking. Kapoor’s character in <em style="box-sizing: border-box;">Jagga Jasoos</em> stammers, hence he sings to communicate. And this, of course, provides an opportunity for a musical form of story telling.</span></div>
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<span style="box-sizing: border-box;">Kapoor’s choice of scripts have not followed the beaten path of commercial cinema, whether it Imtiaz Ali’s <em style="box-sizing: border-box;">Tamasha</em> or Anurag Kashyap’s <em style="box-sizing: border-box;">Bombay Velvet,</em>or <em style="box-sizing: border-box;">Rocket Singh: Salesman of the Year</em>, a film he did early on in his career. Both <em style="box-sizing: border-box;">Barfi</em> and <em style="box-sizing: border-box;">Jagga Jasoos</em> have showcased his talent like none other. His outstanding performance clearly reveals his complete faith in Basu. The two, together, dare to take the risk of exploring a vividly rich, cinematic landscape beyond imagination, and the result is a heady and ambitious work of passion, full of courage and conviction.</span></div>
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<span style="box-sizing: border-box;"><em style="box-sizing: border-box;">Jagga Jasoos</em> exudes a wonderful warmth, a child-like joy. It brings back the memories of comic book heroes, and has a fresh innocence in its Broadway format of storytelling, made most endearing with Pritam's music and Amitabh Bhattacharya's lyrics. </span>Bhattacharya and Pritam provide Basu with just the right words and notes, the humour and the mood switch, the fun and the crazy tone. If Basu’s last film <em style="box-sizing: border-box;">Barfi</em> depicted romantic love at its purest, <em style="box-sizing: border-box;">Jagga Jasoos</em> is a further extension of this endeavour, which embraces the world of children’s fantasy, spins a beautifully narrated emotional tale of a father (a brilliant Saswata Chatterjee, better known as Bob Biswas from <em style="box-sizing: border-box;">Kahaani</em>) and son and simply goes wild, juggling several genres at the same time. The story plays out in various beats, from musical to drama to romance to fantasy to action, and ends at a fabulous note that leaves you waiting for the next thrilling adventure, which promises a lot more insanity.</div>
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<span style="box-sizing: border-box;">n this ‘Disney’-land, characters perform quirky dance routines choreographed by Shiamak Davar and unbelievable slapstick action scenes. We are taken through the best joyride of the year involving old-school planes, giraffes swaying, elephants trumpeting, and of course, the charming Ranbir Kapoor and Katrina Kaif frolicking through it all, atop ostriches and trains and rafts. Needless to say, it is a Disney Pictures offering.</span></div>
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<span style="box-sizing: border-box;">The madness extends to passing off 34-year-old Ranbir Kapoor as a schoolboy, and his acting will convince you more than the uniform he dons. Animals of all shapes and sizes appear out of nowhere, and transport you into another make-believe world. And oh, there is a 'red circle' theory of destiny weaved in, along with a real-life incident of arms drop in Purulia in the mid-90s, leading to mysterious caves and encounters with even more mysterious two-headed villains.</span></div>
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<span style="box-sizing: border-box;">As if the craziness here is still not enough, at one point, the characters burst into the unlikeliest of choruses, which is the finest moment of the film as a musical. Ridiculously simple lyrics like "S</span><i style="box-sizing: border-box;">ab khana khaa ke, daaru peeke chale gaye…</i><span style="box-sizing: border-box;">” tell a whimsical story of their own. Therein lies Pritam's method to the cinematic madness of Anurag Basu and Ranbir Kapoor. There is no choice but for the heart to sing along and fall in love with their movies.</span></div>
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Published Date: Jul 18, 2017 /Firstpost.com</div>
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gayatri gaurihttp://www.blogger.com/profile/04375543035604734663noreply@blogger.com0tag:blogger.com,1999:blog-3870014331053487904.post-40501141981442943892018-02-06T20:59:00.003-08:002018-02-06T20:59:53.500-08:00MOM is unabashedly a Sridevi show: Is this the shining beacon for middle-aged actresses?<div dir="ltr" style="text-align: left;" trbidi="on">
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An ominous background score and a long aerial shot of a black SUV gliding on a deserted, dark street at night — these are the only two audio-visual elements used to convey the chilling horror of a brutal gang rape in <em style="box-sizing: border-box;">MOM</em>.</div>
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This is the audio-visual medium (A.R. Rahman and Anay Goswami) at its best, under the skilled hands of debut director, Ravi Udyawar. No victim cries, no details, just a persistent, unforgettable background score that make the heart leap in fear. There is nothing more powerful than a viewer’s imagination.</div>
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The director clearly knows this but immediately forgets it, the moment the camera rests on the lovely, luminous eyed Sridevi.</div>
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As soon as Sridevi takes centre stage, all hell breaks loose (in a good way) — for the histrionics at display and for the audience who is hooked and hypnotised by that trembling accented voice and the easy switching of emotions from the vulnerable mother to the determined, steely person who takes revenge.</div>
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<em style="box-sizing: border-box;">MOM</em> is unabashedly a Sridevi show, 148 minutes long.</div>
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There is much to be applauded in the film. Here is a 53-year-old leading actress doing what Amitabh Bachchan once excelled at — playing the angry, tormented hero who is out to get the baddies.</div>
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"<em style="box-sizing: border-box;">Aa gayi uski maa," </em>she whispers and growls to one of the antagonists in a chilling scene of revenge. Ah, the delicious satisfaction of sweet ‘apple seed’ revenge! (there is an entire sequence with apple seeds). It’s fascinating how the apple has been used in story telling through the ages, be it with Adam and Eve, or in Snow White, or in this case with <i style="box-sizing: border-box;">MOM</i>.</div>
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A woman can do much more, with a kitchen knife and a mixer blade, than a cop with his uniform and gun — this is the takeaway from <em style="box-sizing: border-box;">MOM.</em></div>
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This really hits home when you realise Sridevi's graph. She has transformed herself from the famous Yash Raj, white-costumed Chandni, who charmed with her sing-song baby voice, to the blue saree-clad sensual dancer in “<em style="box-sizing: border-box;">Kaate nahin katte din ye raat</em>” in <em style="box-sizing: border-box;">Mr India,</em> to a 360 degree turnaround as a middle aged, non-glamorous mother matching Nawazuddin’s humour and Akshay Kumar’s sarcasm. And what a transformation it has been.</div>
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Suddenly, Bollywood shines bright with hope for the heroine over 50.</div>
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With her brilliant talent gleaming through her face (she is even more beautiful with slight age lines), Sridevi is a far more a riveting watch than a shirtless Salman Khan with his 6 plus packs or the quintessential middle aged Hindi film hero, who refuses to grow up.</div>
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But does this justify a talented star, 300 films old now, being treated bigger than the subject? When will a filmmaker respect the story more than the actor? Both Udyawar and Rahul Dholakia (<em style="box-sizing: border-box;">Raees</em>), seem to be better than most other overrated directors from the current lot. However, they seem to prefer catering to the age-old stardom and <em style="box-sizing: border-box;">paisa vasool dialogue baazi</em> in their films.</div>
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It certainly worked, going by the number of times the more cliché-savvy members of the media clapped at the press show of <em style="box-sizing: border-box;">Mom</em>.</div>
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However, some questions were left unanswered in the film. Who are these rapists? Surely, they are more than rich, spoilt brats and goons with shaved heads and a Shakti Kapoor grin? Simply giving Nawazuddin big teeth and a semi bald look is not enough to add layers to his character as a detective. Why does Akshay Khanna as a cop still arrive too late on a crime scene? More importantly, why don’t we see more of him in the film, considering he is as compelling as Sridevi in every frame, with or without her?</div>
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<em style="box-sizing: border-box;">MOM</em> is a well-stylised movie that can easily grip a viewer for two hours. When told with the larger purpose of finding emotional depth in the victim’s life, a film can go beyond its stipulated time. <em style="box-sizing: border-box;">Rang De Basanti</em> is probably the only film that addressed a national issue with as much drama and yet left behind some thought provoking debates for long.</div>
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<em style="box-sizing: border-box;">MOM</em> could have been the same, but it doesn't end up, eventually.</div>
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A woman’s safety is an issue far more urgent and compelling than the box office and stardom. It gets more dangerous when a film allows the magnetism of an actor to overshadow the deeper horrors of rape.</div>
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The 80s revenge drama trope has its thrills but in 2017, we need to go beyond and dig deeper into the loopholes of justice. And the solution does not lie in apple seeds and Sridevi’s anguished eyes alone. Not in the name of rape.</div>
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Published Date: Jul 08, 2017 08:42 AM | Firstpost.com</div>
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gayatri gaurihttp://www.blogger.com/profile/04375543035604734663noreply@blogger.com0tag:blogger.com,1999:blog-3870014331053487904.post-4833586559999639082018-02-06T20:56:00.000-08:002018-02-06T20:56:43.582-08:00Rangoon's real star? Saif Ali Khan's Russi Billimoria is the film's most memorable character<div dir="ltr" style="text-align: left;" trbidi="on">
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The year is 1943, and World War II is raging fiercely. In these times, live three Indians, each captive to political circumstances.</div>
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One among them is his rich, powerful father’s puppet. His name is Russi Billimoria (Saif Ali Khan), a suave Parsi producer whose earlier glory days as an action hero come to an untimely end in an accident. His magnificence presence becomes evident when the camera in his movie studio zooms gently upwards, as if to show us all of his pomposity. He zips up his black gloved hand (a mechanical one to replace the one he lost in the accident) with such aplomb that you cannot help but know — it is he who wields the whip that is an iconic prop in his heroine’s hands.</div>
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His heroine is Julia (Kangana Ranaut) — the masses’ darling; she cracks her whip, sings, dances, risks her neck by leaping onto chandeliers. But when Russi asks her to jump, Julia asks how high. When he pats his thigh and beckons for her to be seated, calling her ‘Hey Kiddo’, she obeys.</div>
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Julia is Russi’s ‘slave’ — bought by him for Rs 1000 when she is only 14. He moulds her identity; as she puts it, in a voice reminiscent of Meena Kumari: “<em style="box-sizing: border-box;">Tum kaho to Miss Julia, tum kaho tab Mrs Billimoria.</em>” When she makes the statement, Russi merely gives her a sharp glance, and comments that she’s grown up. Up to this moment, their past has only been mentioned in a funny, roundabout way when Julia shares her personal history with a Japanese captive soldier who doesn’t understand a single word she says. While that moment is gradually leading up to intimacy with another silent soldier — Jamadar Nawab Malik (Shahid Kapoor), you wish that you would see more of the fascinating relationship between this master and slave, the mentor who later, venomously reminds his protégée: ”You are a Russi Billimoria creation”.</div>
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This is not your typical evil master and slave relationship, but one of passion and belonging. One, where Russi, having lost his dreams in that accident, has transferred them onto a wisp of a woman; a woman who is an intoxicating cocktail of fragile vulnerability and fierce daredevil, courage. She is also content to parrot Russi’s opinions on the ongoing war, blindly accepting the British rule in India. But she is the only one who sees Russi naked and without the dignity of the black glove that hides a missing right hand.</div>
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If she is a parrot, lovingly kept in his grand film set cage, how can she possibly allowed to fly? There is of course, the irony that Russi gave Julia the wings and the confidence to fly dangerously high. There is a moment when she has just been told that her close friend and costume designer is missing, lost during an enemy attack. Too distraught to perform, she is coaxed by Russi to go out and put on a show for the British troop waiting outside. She asks him helplessly, “<em style="box-sizing: border-box;">Magar main pehnoongi kya?</em>’”Seconds later, she is seen in a military uniform, the shirt knotted waist high and she is transformed into Miss Julia, the performer, crooning “<em style="box-sizing: border-box;">Bloody hell</em>”. She is back to what she knows best, dancing to her master’s tunes, grateful and dutybound only because — “<em style="box-sizing: border-box;">haath pe usne rakh di ring”</em>…<em style="box-sizing: border-box;">ring, ring, ring</em>” — that shining stamp of respectability along with ownership.</div>
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However, the ring is not enough for him to bring his slave to her knees. When he notices the marks of sandy passion on her neck and that of her lover, Nawab, Russi’s eyes glint harder than the shining rock on Julia’s finger. The moment of intense, possessive jealousy covered with pride, turns into a theatric expression of sword wielding where he brings Julia down to her knees, his sword stopping short of piercing her chest. Yet, they both know he is more helpless than her. She may have lost the sword fight but he has lost his ‘kiddo’, just like his one limb. Forever.</div>
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And when this trained showgirl does finally use all the trappings of the character that Russi gave her — the mask, the whip, the stunts — it is to help Nawab. Nawab, the one who transformed her from “kiddo” to a woman, from the ignorant Indian willing to dance for the British, to the fighter who now quotes him instead of Russi:<em style="box-sizing: border-box;">“(apni jaan se kuch kimti hai kya/)...hai; woh jiske liye mara jaa sake”.</em></div>
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It is only apt that the locations become the narrators of this epic story as the camera moves from the swooping heights of fame and power to dancing around, inside trains; to long, beautifully choreographed and shot mud fights that turn into passionate kisses; to thick billows of dark railway engine smoke clouding the screen, uncovering a heroic, female, action star; finally to the most cinematic vision of all: the bridge between India and Burma — where the interval begins, and the film ends. It is only apt that she is seen crawling down that wooden, nearly destroyed bridge — hovering between captivity and freedom. It’s a perfect untold love story when the black gloved hand of Russi is the one that clutches at her as she rebelliously whispers her last words, “Bloody hell”.</div>
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Julia and Nawab may have been the charming Romeo and Juliet of <em style="box-sizing: border-box;">Rangoon</em>. But it is Saif’s Russi Billimoria — the man who rarely drops his mask — who I carried out of the theatres, along with his love story that was the one not shown on screen. A story that begins when Julia is just 14-year-old Jwala and he teaches her to walk a tightrope and says, “Hey kiddo”.</div>
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Published Date: Feb 26, 2017 08:22 AM | Firstpost.com</div>
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gayatri gaurihttp://www.blogger.com/profile/04375543035604734663noreply@blogger.com0tag:blogger.com,1999:blog-3870014331053487904.post-78518799416040521732018-02-06T20:53:00.002-08:002018-02-06T20:53:24.984-08:00Rangoon is a love story, but of a heightened, melodramatic nature: Director Vishal Bhardwaj<div dir="ltr" style="text-align: left;" trbidi="on">
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For someone who is in the midst of a court case over <em style="box-sizing: border-box;">Rangoon</em>, director Vishal Bhardwaj is remarkably as Zen as the Buddha statue in his office cabin. The canvas of his cinema has always been unique to Bollywood, with its occasional Tarantino influence, cheeky humour, political comment, fascinating characters and music more heady than tequila. Who better than this auteur to make a romance-musical set in the 1940s?</div>
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Excerpts from a chat:</div>
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<strong style="box-sizing: border-box;">Your film has just released. Nervous?</strong></div>
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It’s a peculiar feeling. I don’t feel anxious and I don’t want to feel excited.</div>
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<strong style="box-sizing: border-box;">Why is that?</strong></div>
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Because it’s better not to identify with your success. Then you would have to identify with — God forbid — (your) failure.</div>
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<strong style="box-sizing: border-box;">Do you fear failure?</strong></div>
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No, but I do feel sad like anyone else, momentarily. The fear starts when you are writing and reaches its peak when the film is releasing. I have seen so many great filmmakers make very bad films at some point, barring masters like Satyajit Ray or Steven Spielberg. If the fear is not there, you will definitely fail.</div>
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<strong style="box-sizing: border-box;">Do you think a filmmaker’s passion borders upon indulgence at times?</strong></div>
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A filmmaker would not be a filmmaker if he is not indulgent. He has to be indulgent. Otherwise why would you put yourself through such a hard life — from writing to getting funds to handling actors’ tantrums? You have to shoot, re-shoot, get the background score, manage 300 people, edit, go through many drafts. Whether or not someone likes it, you have to be indulgent. You are overindulgent if you stop listening to others or your own self. You suppress that voice which cautions you.</div>
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<strong style="box-sizing: border-box;">Has that happened to you?</strong></div>
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Yes. In <em style="box-sizing: border-box;">Saat Khoon Maaf</em>, I should not have cut Irrfan’s story by 20 minutes, which was written in pure poetry.</div>
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<strong style="box-sizing: border-box;">With ideas as ambitious as yours, is the execution difficult?</strong></div>
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You have to keep adapting to the reality. Sometimes you have to shrink your imagination, sometimes you have to expand it.Like the homes in winter in Delhi, where there is no sunlight…how do you convey that? It’s easy to convey through poetry but it’s very difficult in cinema to capture the image and convey the subtle feeling of a cold house in winter…the melancholy.</div>
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<strong style="box-sizing: border-box;">In <em style="box-sizing: border-box;">Haider</em>, the landscape does reflect the sombre, haunting mood. How do you choose such locations, which become characters by themselves?</strong></div>
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<strong style="box-sizing: border-box;"> </strong>I look for a good backdrop that helps in showing the internal conflict of the characters and the drama.</div>
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<strong style="box-sizing: border-box;">Your characters are deeply layered. How do you handle the most complicated emotions — like the Oedipus complex in <em style="box-sizing: border-box;">Haider</em>?</strong></div>
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I managed that partly because the actors were comfortable and they had an understanding and trust in me. Like Tabu kisses Shahid on the lips and you don’t feel awkward about it. The character also has to feel it from within and nobody objected to that scene.</div>
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<strong style="box-sizing: border-box;">How did you make it so acceptable ?</strong></div>
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The basic intention of filmmaker goes across. If the intention is corrupt or noble or somewhere between corrupt and noble, that too will show on screen. The filmmaker is completely naked on screen, emotionally.</div>
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<strong style="box-sizing: border-box;">You mentioned stars’ tantrums. How do you manage that?</strong></div>
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You have to treat them like kids, sometime you admonish them. [Smiles.]</div>
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<strong style="box-sizing: border-box;">Is it easier to work with them when they have natural chemistry, like Irrfan and Tabu had in <em style="box-sizing: border-box;">Maqbool</em>?</strong></div>
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It’s not just me, the whole unit saw it. They were very responsive to each other as actors. Acting is more about reacting. But I have seen actors who may not get along and yet have great chemistry on screen.</div>
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<strong style="box-sizing: border-box;">You have worked with various genres now — from children to Shakespearean tragedies to comic capers. <em style="box-sizing: border-box;">Rangoon</em> is your first love story. What draws you to romance this time?</strong></div>
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Romance attracts me all the time but pure romance is also very boring. Romance is more like a mystery initially and later it is no longer intriguing. <em style="box-sizing: border-box;">Rangoon</em> is a love story but more heightened, more melodramatic. I wanted to achieve the tone of a Broadway musical. This has an operatic feeling.</div>
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<strong style="box-sizing: border-box;">Is that why you used live orchestra in <em style="box-sizing: border-box;">Rangoon</em>?</strong></div>
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We did that background score in London. This is primarily a musical. I wrote it 10 years ago with the intention of exploring musical storytelling.</div>
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<strong style="box-sizing: border-box;">The poster says 'love and deceit'. <em style="box-sizing: border-box;">Omkara</em> had a similar theme of betrayal, so did <em style="box-sizing: border-box;">Maqbool</em>. Does that theme fascinate you the most?</strong></div>
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There are few basic emotions and all are interconnected. There needs to be an antagonist — for negative emotions, for the protagonist to work. If there is lust, there is jealousy, there is deceit... they all work together. Pick up one emotion and the rest are part of the package.</div>
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<strong style="box-sizing: border-box;">How did you see someone like Saif in a dark light in <em style="box-sizing: border-box;">Omkara</em> and now again in <em style="box-sizing: border-box;">Rangoon</em>?</strong></div>
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First you write the character and then think of the cast. Then you surprise people. I wanted a challenge. Someone like Irrfan will play ‘Langda Tyagi’ in his sleep. Also to be very honest, I wanted a star to get the masses. Because the kind of films I make, the masses are confused whether they should watch or not, whether they will be entertained. They think — ‘We don’t trust this man…he will call us with his songs and then...’ Every time, I have to find a new way to deceive the audience. [Mischievously] I don’t want to betray my own aesthetics for my masses.</div>
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<strong style="box-sizing: border-box;">How crucial is box office success to you?</strong></div>
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It’s crucial for my single malt, for my business class ticket and for the money I need to make my next film [laughs]. If I make more money, I will make films with more fearlessness.</div>
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<strong style="box-sizing: border-box;">You seem to be already fearless enough… like <em style="box-sizing: border-box;">Matru Ki Bijli Ka Mandola</em>.</strong></div>
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In retrospect, I realise that while I am making a film, I think every film is commercial. With <em style="box-sizing: border-box;">Matru..</em>., I thought I was making <em style="box-sizing: border-box;">Dilwale Dulhaniya Le Jayenge</em>... <em style="box-sizing: border-box;">shaadi ka backdrop hai...ladki ka engagement hai</em>. I forget what kind of politics I have in my DNA. I can’ t stop commenting on politics and society.</div>
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<strong style="box-sizing: border-box;"><em style="box-sizing: border-box;">Rangoon</em> is bigger in production. There is more at stake.</strong></div>
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It should cover the cost and make money for the producer. I have a unique association with Sajid Nadiadwala. He has a great command over the commercial execution of a film. He has structured it so well, it has to work.</div>
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<strong style="box-sizing: border-box;">What about Mr Roy Wadia’s allegation about copyrights over Nadia’s life (on whom the character of Julia in <em style="box-sizing: border-box;">Rangoon</em> is said to be based)?</strong></div>
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It’s not true. The film is not about her personal life… [pauses] I think I should not speak about it as it is sub-judice.</div>
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<strong style="box-sizing: border-box;">Kangana is an excellent choice. She says, 'Vishal Sir is the only director who says I am beautiful.'</strong></div>
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Beauty is internal.</div>
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<strong style="box-sizing: border-box;">Do you agree with what Kangana said about nepotism to Karan Johar? Does it exist?</strong></div>
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Yes but what’s wrong with that? I am not endorsing what she said. She voices what she feels is the truth.</div>
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<strong style="box-sizing: border-box;">What’s your truth?</strong></div>
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It’s there. But that’s okay. If a star’s son is launched, there is something about that star, it is there in his blood. Regarding camps, it doesn’t matter. If you are successful, nothing matters. Every camp wants you. The other is a mirror of you, if another person does not like me, it is reflected inside you. There is favouritism in a family too. Anyone with power is successful. One should be so talented that nobody should be able to stop you. I will get the money I want to make, as a filmmaker. But an actor has to depend on more people.</div>
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<strong style="box-sizing: border-box;">These days, the romantic movies are not as memorable as <em style="box-sizing: border-box;">Mughal-e-Azam</em>or other classics. What has caused this change?</strong></div>
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The problem is the youth. They are the ones who come to the theatres. The youth is very frivolous today. They are intelligent and clear but aesthetically, they are frivolous. We grew up on <em style="box-sizing: border-box;">ghazals</em> and poetry. Now there is only dance music since the past 15- 20 years, party songs…<em style="box-sizing: border-box;">’Party abhi baaki hai’.</em>.. so that reflects on the music. The young are more intelligent than us, but they don't have roots.</div>
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<strong style="box-sizing: border-box;">Do you find it more challenging to make films for the young?</strong></div>
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How do I con the youth is the next thing to think about [laughs]… I want them to rise to our aesthetics. Unless we try to rise, achieve, fly, the aesthetics will remain the same. It’s a cycle.</div>
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<strong style="box-sizing: border-box;">What about the music remixes that are rampant today?</strong></div>
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I don’t hear them.</div>
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gayatri gaurihttp://www.blogger.com/profile/04375543035604734663noreply@blogger.com0tag:blogger.com,1999:blog-3870014331053487904.post-41896783139056243982018-02-06T20:46:00.001-08:002018-02-06T20:46:33.478-08:00Koffee with Karan season 5: How Fearless Kangana overpowered biggies like Johar and Saif<div dir="ltr" style="text-align: left;" trbidi="on">
<span style="background-color: white; color: #4d4d4d; font-family: robotoregular; font-size: 18px;">She does not need a hunter in a hand. As fearless as Julia is, she oozes confidence with her blonde curls and blood red lipstick. She stings and emits hot smoke with her quick, sharp words, like a dragon with a dictionary. Then she smiles a faint smile as if saying “peace”.</span><br />
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But the man at the receiving end is squirming away, putting up a brave, sporting front as he giggles at being called a “movie mafia” don who encourages “nepotism”. Even more amusing, is the onlooker — the dashing Nawab, who can never be anything but politically correct, constantly changing expressions from gaping to whispering a “wow” of disbelief to raising his brows in every possible direction. All throughout, he seems ready to fall off the famous coffee couch of <em style="box-sizing: border-box;">Koffee With Karan</em>.</div>
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The recent episode with Kangana Ranaut and Saif Alia Khan has been, by far, the most hilarious, entertaining, cut-throat honest conversation dominated entirely by a female star. She continues to prove that she is indeed nothing but a Queen who will not allow the most powerful filmmaker to hold court or be “frivolous” as she bluntly puts it.</div>
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Kangana Ranaut is ready to take on Bollywood nepotism by its horns, and how.</div>
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Every time a man in the past has tried to malign her, she has stood her ground with unfailing courage. With three national awards under her belt of talent and limitless passion, she chooses the right time and platform to give it back to those who dare make fun of her, not just in their private drawing rooms but on national television.</div>
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When she reminds the subject of her rightful attack — Karan Johar — how he and those sitting on his famous ‘Koffee’ couch have made fun of her English or dismissed her as someone who cannot make it, she also adds most rationally how it has only pushed her to improve herself.</div>
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This is the stuff every Bollywood outsider faces but dare not voice. In fact, the contrast between insiders and outsiders could not be starker with both other guests on the show — Shahid and Saif, belonging to families who have been well established for a generation or so. Normally, Karan’s show is dominated by banter surrounding his Dharma universe, and lots of sex details. So, it is fascinating to watch how the show turned around, this time.</div>
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With due credit to Karan Johar, who accepts the charges graciously and apologises, one hopes that this candid interview will give courage to the larger talent out there, ignored or silenced with the snobbery that exists.</div>
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A sight most common on the show is that of two men going nudge-nudge, wink-wink when it comes to a woman as a subject of ridicule. So, it was only natural when Kangana reacted to Karan’s wink at Shahid, when he asked about their passionate lovemaking scene in their upcoming film, <em style="box-sizing: border-box;">Rangoon</em>. She immediately reprimanded Karan on belittling an artist’s hard work on sets and the effort that goes into creating an impactful lovemaking scene.</div>
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A frivolous talk show hath no fury like a serious, national award winning artist, indeed.</div>
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Beware Bollywood. Here comes a pretty, badass lady who wears her unabashed intelligence on her sleeves, much like the most refreshing and heady perfume, stronger than a whip.</div>
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Bloody Hell!</div>
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gayatri gaurihttp://www.blogger.com/profile/04375543035604734663noreply@blogger.com0tag:blogger.com,1999:blog-3870014331053487904.post-30597579165388978582018-02-06T20:43:00.000-08:002018-02-06T20:43:40.706-08:00Gone are the days of Dil Se, DDLJ: Has Bollywood moved away from its La La Land?<div dir="ltr" style="text-align: left;" trbidi="on">
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It’s a cold, stormy night. A young man with a thick mop of hair falling on his forehead, restless and shivering in a red jacket at a deserted railway station, is desperate to light a cigarette.</div>
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He hollers out for a matchbox at a shadow in black, huddled nearby. Lightening strikes. A black robe flies off with the force of the wind and his eyes fall on the most beautiful and innocent looking girl struggling to cover herself.</div>
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Dazzled, he rambles, he jokes, even asks her for a cigarette — anything to get a response or a hint of a smile from her. She finally speaks, her voice hasty and soft, “<em style="box-sizing: border-box;">chai…ek cup garam chai</em>..”</div>
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The scene ends with raindrops falling on him, a solitary figure, holding two glasses of <em style="box-sizing: border-box;">chai</em>, as he watches her go past, inside a train.</div>
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“<em style="box-sizing: border-box;">Duniya ki sabse choti prem kahani hogi,</em>” he mutters to himself, his dimples deepening in disappointment.</div>
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This introductory scene of boy meets girl, from Mani Ratnam’s <em style="box-sizing: border-box;">Dil Se</em> is one of Bollywood cinema’s finest in romance, according to yours truly. There was a rush of anticipation, the exchange of the heroine’s mysterious glances with the hero’s smitten eyes, humour and charm in the lines, and the most evocative of all — the wonderful mood created by the sound of the train, the stormy wind, the image of rain diluted <em style="box-sizing: border-box;">chai, </em>captured so vividly by Santosh Sivan.</div>
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It left you as breathless and wanting more, just like the hero (Shah Rukh Khan).</div>
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The beauty of <em style="box-sizing: border-box;">Dil Se</em>’s screenplay is that the scene has a perfect payoff later, full of longing when the hero (Shah Rukh’s best performance to date, of an earnest, young man whose heart seems to be racing as he speaks) describes that night on radio, complete with sound effects recreating the sound of the train, the wind and the rain. While, somewhere else, in a remote area, unknown to him, she — a terrorist (therein lies the tragic conflict) — listens.</div>
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That was the sheer magic of romance in Hindi cinema in 1998. The writing, music, lyrics, cinematography, direction and the performances seemed to be in sync into each other like a beautiful poem and an ode to love.</div>
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Today, as Hollywood’s musical love story <em style="box-sizing: border-box;">La La Land</em> sweeps five BAFTA awards and is nominated for 14 Academy awards, it still continues to be debated worldwide whether the film deserves the accolades and the praises.</div>
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Closer home, it does not hold a candle to a much richer work by Mani Ratnam, who does us proud with dance and song narrative like “<em style="box-sizing: border-box;">Chaiya Chaiya</em>” on a train top, at least if choreography and music is the criteria here. There is more passion and soul in every frame in his songs and visuals than in Damien Chazelle’s two hour musical. <em style="box-sizing: border-box;">La La Land</em> is undoubtedly great in technical details but simply not as entertaining nor as soulful.</div>
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It’s not just Hollywood which seems to be complacent enough in it’s lack of romance and chemistry among the characters.</div>
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Indian cinema too is changing in it’s definition of love. In an attempt to be more real in its depiction — which is most welcome — it is losing the charm of escapist moments of yore. Take, for example, the latest offering by the most prolific Bollywood filmmaker, Karan Johar — <em style="box-sizing: border-box;">Ae Dil Hai Mushkil.</em></div>
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In ADHM, the characters find it easier to be friends than lovers. The film is more cynical in its interpretation of love. The heroine (Anushka Sharma) prefers friendship to love, as she has only known its traumatic one-sided shade of dark grey pain.</div>
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Everyone in the film thrives, and even is poetic, about unrequited love and how it can actually be enough to live by. While Johar’s first film on unrequited love, <em style="box-sizing: border-box;">Kuch Kuch Hota Hai</em> believed in finding love the second time round, his latest film does not believe in characters moving on. It’s as if he wants to say, two people in love can live happily ever after, only in friendship.</div>
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The film seems to understand the dilemma of letting go of cinematic romance and yet clinging on to the soulful nostalgia. We can see that in its rendition of the classic, “<em style="box-sizing: border-box;">Lag ja gale”</em> or Farida Khanum’s “<em style="box-sizing: border-box;">Aaj jaane ki zid na karo</em>” as a tribute to the melodious and glorious times. However, the faith in the simplicity of love is missing.</div>
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In the past two years, <em style="box-sizing: border-box;">Tanu Weds Manu Returns</em> and <em style="box-sizing: border-box;">Ranjhanaa </em>— both directed by Anand Rai, have successfully brought out the love, the passion, the craze and the delightful delusions of romance with its eccentric characters and within the parameters of song and dance, commercial dramas. Such movies are far and few. We no longer seem to have romantic movies, which continue to entertain with repeat watching, like <em style="box-sizing: border-box;">Dilwale Dulhania Le Jaayenge</em> or the timeless <em style="box-sizing: border-box;">Lamhe</em>.</div>
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Lately, there is only one film which brought back the simplicity of story telling and the beauty of innocent love — Marathi movie, ‘Sairat’. The film’s resounding box office success has re-opened a new hope that Hindi cinema will take a red rose from there and bring that “<em style="box-sizing: border-box;">zing zing zing zingaat</em>” rhythm back in our scripts and recreate the entertaining 'la la land' of Bollywood love.</div>
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Meanwhile, this Valentine week, one will have to be happy to revisit…</div>
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“<em style="box-sizing: border-box;">Dil hai to phir dard hoga, </em><em style="box-sizing: border-box;">Dard hai toh dil bhi hoga. Dil se re…dil se re.”</em></div>
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gayatri gaurihttp://www.blogger.com/profile/04375543035604734663noreply@blogger.com0tag:blogger.com,1999:blog-3870014331053487904.post-45137992217579397972018-02-06T20:40:00.001-08:002018-02-06T20:40:24.920-08:00Hrithik Roshan and the Kaabil paradox: Why does a modern man play outdated heroes?<div dir="ltr" style="text-align: left;" trbidi="on">
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If you happened to see the photo of Hrithik Roshan posing with ex-wife Sussanne Khan and their friends Twinkle Khanna, Akshay Kumar, then you must know that these seem to be good times for the <em style="box-sizing: border-box;">Kaabil</em> star.</div>
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Either Hrithik is slowly and steadily getting his act together or his PR team is doing a good job of re-boosting his image, which had taken a battering after his <em style="box-sizing: border-box;">Mohenjodaro</em>-sized personal battles of the past year.</div>
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In <em style="box-sizing: border-box;">Kaabil</em>, Hrithik’s character, Rohan, is a likeable, harmless and independent young man who doesn’t let his vision impairment come in the way of his happiness. He can dance like a superstar; cry like a helpless, broken husband and then bingo — he can transform into a deadly opponent bent on revenge. Hrithik knows his moves, all right. He knows his craft and proved it, with <em style="box-sizing: border-box;">Guzaarish</em>, a long time ago.</div>
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However, when it comes to his scripts, Hrithik seems to be going in for ones that spell regressive, with a capital ‘R’.</div>
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While Hrithik has been deservedly praised for his performance in Kaabil, the film is as good as an episode of <em style="box-sizing: border-box;">Crime Patrol</em>. The film is among Sanjay Gupta’s better work as a director in terms of style and sensibility, the script itself is an age-old story of a blind man avenging his blind wife’s rape and murder; and has dialogues like “<em style="box-sizing: border-box;">Pyaar andha hota hai yeh to suna tha lekin andhon ko bhi pyaar hota, yeh pehli baar dekha</em>”.</div>
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It’s either his luck or his fan base which seems to be favouring Hrithik’s current success. First comes the announcement of <em style="box-sizing: border-box;">Kaabil</em> joining the ultimate 100 crore club. (Although with <em style="box-sizing: border-box;">Dangal</em> setting a new benchmark of Rs 350 crore plus in box office collections, both <em style="box-sizing: border-box;">Raees</em> and <em style="box-sizing: border-box;">Kaabil</em> have had to get their number-crunching machines on overdrive, with each team claiming more zeroes and throwing success parties.) The more the business, the merrier the Page 3 pictures; the recent one being the charming, chilled out one with Akshay Kumar.</div>
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It’s also great to see the steady stream of happy, modern family/friendly photos of Hrithik and Sussanne — which are presumably setting ‘friendship goals’ for the Instagram generation.</div>
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If Hrithik can be this modern-day relationship role model for the youth today, he can very well choose not to be a part of nonsensical versions of rape revenge sagas which don’t even belong in the Bollywood eighties.</div>
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Today, films with women protagonists have broken the boundaries of prototype heroines, singlehood and sexuality — be it <em style="box-sizing: border-box;">Queen, Pink</em> and <em style="box-sizing: border-box;">Dear Zindagi</em>. But strangely, the hero has not changed too much. <em style="box-sizing: border-box;">Kaabil</em>’s hero is a rewritten version of the equally regressive <em style="box-sizing: border-box;">Ghajini</em> where blindness is replaced by memory loss and the rest is the same old rape, revenge, repeat. When a “thinking actor” like Aamir Khan can choose <em style="box-sizing: border-box;">Ghajini</em> and the box office proves him right too, why would any other actor resist the tried-and-tested formula of romance and violence? Little wonder, we end up with rehashed Bollywood trash.</div>
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It is possible that actors like Hrithik are told confidently by filmmakers, “<em style="box-sizing: border-box;">Action hai, romance hai, drama hai, kamaal ka fight scene hai…picture hit hai</em>” and the performers play along since there is very little risk involved. For such safer bets, lighter movies like <em style="box-sizing: border-box;">Bang Bang, Krishh</em> and <em style="box-sizing: border-box;">Dhoom</em> do far more justice to Hrithik’s action image and talent. He is brilliantly light-footed on the dance floor and clearly very dedicated and disciplined. Hopefully, his <em style="box-sizing: border-box;">kaabil</em> mind will be willing to take on new and fresh challenges.</div>
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Hrithik is normally seen in a very serious avatar in all his interviews. He talks slowly and in measured fashion, and always says the right thing. But he shed all inhibitions and played along sportingly in Kapil Sharma’s show this weekend — happy to romp around in a sari. (What exactly is it about 3-4 characters dressed as women in <em style="box-sizing: border-box;">The Kapil Sharma Show</em> which tickles the TRPs and the audiences is beyond my comprehension.)</div>
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Dear Hrithik, you need not be that kind of sport. It’s really not funny.</div>
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<div style="background-color: white; box-sizing: border-box; color: #4d4d4d; font-family: robotoregular; font-size: 18px;">
A week ago, one of the numerous, WhatsApp jokes on <em style="box-sizing: border-box;">Kaabil</em> and <em style="box-sizing: border-box;">Raees</em>went like this:</div>
<div style="background-color: white; box-sizing: border-box; color: #4d4d4d; font-family: robotoregular; font-size: 18px;">
<em style="box-sizing: border-box;">Patni: Raees film dekhne chalien?</em></div>
<div style="background-color: white; box-sizing: border-box; color: #4d4d4d; font-family: robotoregular; font-size: 18px;">
<em style="box-sizing: border-box;">Pati: Main utna kaabil nahin hoon.</em></div>
<div style="background-color: white; box-sizing: border-box; color: #4d4d4d; font-family: robotoregular; font-size: 18px;">
<em style="box-sizing: border-box;">Patni: To Kaabil dekhne chalien?</em></div>
<div style="background-color: white; box-sizing: border-box; color: #4d4d4d; font-family: robotoregular; font-size: 18px;">
<em style="box-sizing: border-box;">Pati: Main utna Raees nahin hoon.</em></div>
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This is followed by a cartoon showing husband and wife armed with pans aimed at each other and the line:</div>
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<em style="box-sizing: border-box;">Baad mein unke bachchon ne ghar pe DANGAL dekha.</em></div>
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<em style="box-sizing: border-box;"><br /></em></div>
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Well, <em style="box-sizing: border-box;">Dangal</em>’s Aamir Khan took the risk of playing his age, adding a paunch and lots of grey hair. And the box office numbers are still ringing loud. Hope Hrithik and every <em style="box-sizing: border-box;">kaabil</em> actor out there, is listening.</div>
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gayatri gaurihttp://www.blogger.com/profile/04375543035604734663noreply@blogger.com0tag:blogger.com,1999:blog-3870014331053487904.post-47303835340308635462017-12-19T21:20:00.000-08:002017-12-19T21:21:53.892-08:00STORY OF 'ROOM' MAY SOUND UNUSUAL BUT IS UNIVERSAL: OSCAR NOMINEE AND AWARD WINNING NOVELIST, EMMA DONOGHUE<div dir="ltr" style="text-align: left;" trbidi="on">
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<span style="background: white; color: #222222; font-family: "georgia"; font-size: 12.5pt;"><i>(Abridged version first published in The Wire.in)</i></span><br />
<span style="background: white; color: #222222; font-family: "georgia"; font-size: 12.5pt;"><br /></span>
<span style="background: white; color: #222222; font-family: "georgia"; font-size: 12.5pt;"><br /></span>
<span style="background: white; color: #222222; font-family: "georgia"; font-size: 12.5pt;">Emma Donoghue has a delightful, childlike
excitement about her – just like the little boy, Jack from her award-winning
novel and movie <i>Room</i>. Hugely popular at the MAMI festival in Mumbai
last year, the film was nominated for four Academy Awards in 2016. Donoghue
herself was nominated in the ‘best writing, adapted screenplay’ category. The
film won an Oscar for ‘best actress’ (Brie Larson). The same novel is a
bestseller and won several awards, besides being shortlisted for the Man Booker
and Orange prizes. During our talk at a recent literary festival, a fan came in
to have her book autographed. She happily obliged and described such experiences
as “always heartwarming” and laughed, saying that she’s “not famous enough to
be bored of signing”.</span><span style="font-family: "times new roman"; mso-fareast-font-family: "Times New Roman";"><o:p></o:p></span></div>
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<br /></div>
<div class="MsoNormal">
<i style="mso-bidi-font-style: normal;">Excerpts (with
spoilers) :<o:p></o:p></i></div>
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<br /></div>
<div class="MsoNormal">
<b style="mso-bidi-font-weight: normal;">How did the concept
come to you?<o:p></o:p></b></div>
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<br /></div>
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I heard about a real case in Austria. It was much worse than
my story. I just wanted to take the element of being imprisoned, having a child
and being a mother under those circumstances. It’s a story of motherhood. I had
two small children at the time and I immediately thought how difficult it would
be to be a good mother in a locked room. Then I thought the child might enjoy
having his mother always there.<o:p></o:p></div>
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<br /></div>
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<b style="mso-bidi-font-weight: normal;">The mother would
probably continue to live only for her child.<o:p></o:p></b></div>
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<br /></div>
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Yes. You read about women who have been raped in war crime,
for instance. A victim clings to her child as a result of a gang rape but she
still loves the child. So that extraordinary strength it takes to find some
meaning in a situation of suffering.<o:p></o:p></div>
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<br /></div>
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<b style="mso-bidi-font-weight: normal;">And you were a young
parent yourself.<o:p></o:p></b></div>
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<br /></div>
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Yes. My children were five and one. My children would come
to the shoot and my son would look at jack and say, “he is playing me”.<o:p></o:p></div>
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<br /></div>
<div class="MsoNormal">
<b style="mso-bidi-font-weight: normal;">While you were
writing the book, how old was he?</b><i style="mso-bidi-font-style: normal;"> <o:p></o:p></i></div>
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<br /></div>
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He was four and turned five by the time I finished the book.<o:p></o:p></div>
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<br /></div>
<div class="MsoNormal">
<i style="mso-bidi-font-style: normal;">(Interestingly, in
“Room” Jack turns five in the story and it is a big turning point.)<o:p></o:p></i></div>
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<br /></div>
<div class="MsoNormal">
I knew that Jack would be very different from my son. It was
poverty versus riches, in a way.<span style="mso-spacerun: yes;"> </span>He would
be playing with any object he had. But fIve year olds anywhere in the world,
are energetic, practical and scientific. They don’t spend time on the past or
future. I remember looking at my son and thinking you can settle down on the
moon and he would adjust to that. I read a lot of stories similar to Jack’s
where there might be sudden transition to another world. I read about refugees
and people who found everything suddenly changed in their lives. I was very
interested in the flexibility of children and their amazing resilience.<o:p></o:p></div>
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<br /></div>
<div class="MsoNormal">
<b style="mso-bidi-font-weight: normal;">Like the little
character, Jack did. He seemed to adapt far more quickly than the mother,
eventually</b>.<o:p></o:p></div>
<div class="MsoNormal">
<br /></div>
<div class="MsoNormal">
I don’t mean to imply that children don’t get damaged, but
they have an amazing ability to bounce back. In the book, Jack does take more
time to adjust, than the movie.<o:p></o:p></div>
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<br /></div>
<div class="MsoNormal">
<b style="mso-bidi-font-weight: normal;">Was it a conscious
decision not to show the mother’s actual suffering at all in the seven years of
being locked?<o:p></o:p></b></div>
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<br /></div>
<div class="MsoNormal">
Yes, I didn’t want any flashbacks. The world they built up
there, is shown through things like drawings on the wall, their daily rituals,
Jack’s routine of bath after bed and the stories they tell like ‘oh that’s what
I did as baby Jack”. Particularly in the film, I didn’t want to go into any
obvious film devices like showing the kidnapping scene or showing from the captor’s
point of view. The film stayed like the book, simply focused on Jack and his
mother.<o:p></o:p></div>
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<br /></div>
<div class="MsoNormal">
<b style="mso-bidi-font-weight: normal;">Perhaps that’s the
reason it appeared so simple yet compelling.<o:p></o:p></b></div>
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<br /></div>
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Yes, I thought a lot about other things like what age would
the mother be and should Jack be a girl. I thought it might be better if he is
a boy and therefore he balances the negative male presence of the captor. So Jack
is this wonderful future man in contrast to the captor. If it was girl, it
would seem like a parable of men against women.<o:p></o:p></div>
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<br /></div>
<div class="MsoNormal">
<b style="mso-bidi-font-weight: normal;">And the male angle is
further explored with the grandfather and the step grandfather.<o:p></o:p></b></div>
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<br /></div>
<div class="MsoNormal">
Yes, I had read that often in cases where the child goes
missing, very often the parents break up. It’s so hard on the marriage. So I
thought it would be nice and complicated when the young mother comes out into
the world and finds out about her family. It would also show the range of
reaction like some people are able to welcome the child and others are so
sickened. So there are two different grandfather figures and I liked the idea
that the one who is new to the whole family would be more relaxed and able to
welcome the child. <o:p></o:p></div>
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<br /></div>
<div class="MsoNormal">
<b style="mso-bidi-font-weight: normal;">At the time of
writing the book, did the present timeline come naturally to you as a writer? <o:p></o:p></b></div>
<div class="MsoNormal">
<br /></div>
<div class="MsoNormal">
I was really sure how to write this book. It came to me all
at once, what the title would be, and the escape would be right in the middle
and there would be two worlds, two halves and it would start with his birthday.
Children often give a magical power to their birthday. And I liked the idea
that he would get a birthday present which would be a disruptive element and I
also liked the idea that it would end with them returning to the room to see
it. So, I had that structure very clear in my mind. It would be childlike, tell
the story straightforward and nothing complicated. Just trust the kid to tell the
story.<o:p></o:p></div>
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<br /></div>
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<b style="mso-bidi-font-weight: normal;">Yes, you never show
the captor eventually</b>…<o:p></o:p></div>
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<br /></div>
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We are just interested in the survivors here, not him.<o:p></o:p></div>
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<br /></div>
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<b style="mso-bidi-font-weight: normal;">And them in
reclaiming their lives.<o:p></o:p></b></div>
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<br /></div>
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Yes.<o:p></o:p></div>
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<br /></div>
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<b style="mso-bidi-font-weight: normal;">So your books are
quite diverse in their themes. One book—‘The Lotterys Plus One’ has been
described by the New York Times as “warm and funny”, while ‘Room’ is so
intense. Does your style always vary?<o:p></o:p></b></div>
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<br /></div>
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Yes, sometimes people read three or four books before they
realize they are all written by me. I try not to have the same style. I go by
what the story needs. So some books have sex scenes and some have none and some
are funny and some are dark. I try to put my ego aside and ask what what the
story needs.<o:p></o:p></div>
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<br /></div>
<div class="MsoNormal">
<b style="mso-bidi-font-weight: normal;">How would you define
yourself as a writer? Procrastinator or neurotic….?<o:p></o:p></b></div>
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<br /></div>
<div class="MsoNormal">
I am quite promiscuous. I get restless in between so I work
on another project and then come back to the first. So I let myself sneak off
and have a little weekend affair with a short story. You have to know your
brain and get to know the tricks which work. Some people use deadlines, some
people like routine.<o:p></o:p></div>
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<br /></div>
<div class="MsoNormal">
<b style="mso-bidi-font-weight: normal;">Do you follow a
writer’s discipline?<o:p></o:p></b></div>
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<br /></div>
<div class="MsoNormal">
Mostly, get the children out of the house, send them off to
school (laughs). I try not to waste any time while travelling. Even at home, I
use fifteen minutes as soon as I get that too. So even if I have to do
something after 15 minutes, I walk to my desk and start working. It need not
always be writing, it can also be answering an email from the publisher. If I
get a thought while crossing the street, I stop on the other side and make a
quick note. I try never to let an idea to get away. If you say to yourself, oh
I need an uninterrupted day, it’s not going to happen. Mothers are good at
multitasking. So even when I bring my children to a Tennis class, I open my
laptop and start typing. All the other parents are looking at their children
and I am just ignoring them.<o:p></o:p></div>
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<br /></div>
<div class="MsoNormal">
<b style="mso-bidi-font-weight: normal;">So what motivates you
to continue?<o:p></o:p></b></div>
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<br /></div>
<div class="MsoNormal">
It’s crucial for me to have projects that really interest me
and are different from each other. I’s refreshing. So my last novel, “The
Wonder”, was a dark, 19<sup>th</sup> century novel. I was writing that at the
same time as my contemporary book for children. They couldn’t be more
different. There is no one sentence you could have in both the books. So it was
like having a steak and having an ice-cream. The contrast is very stimulating.
My other trick is not to allow long breaks and keep checking in on my novel
every couple of days; even when I am travelling. If you leave it for three
weeks it’s like there is a fog between you and the novel.<o:p></o:p></div>
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<br /></div>
<div class="MsoNormal">
<b style="mso-bidi-font-weight: normal;">Do you rewrite much?<o:p></o:p></b></div>
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<br /></div>
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Yes, at least three drafts. But my first novel had seven
drafts because it was no good.<o:p></o:p></div>
<div class="MsoNormal">
<br /></div>
<div class="MsoNormal">
<b style="mso-bidi-font-weight: normal;">How different was the
process of screenwriting for you?<o:p></o:p></b></div>
<div class="MsoNormal">
<br /></div>
<div class="MsoNormal">
Very different. My play writing was useful to me as you have
similar constraints in both the mediums. I did have to read a lot about film
writing and all the rules and knowing when to break a rule.<o:p></o:p></div>
<div class="MsoNormal">
<br /></div>
<div class="MsoNormal">
<b style="mso-bidi-font-weight: normal;">Like the one about
the protagonist not necessarily driving the action always…<o:p></o:p></b></div>
<div class="MsoNormal">
<br /></div>
<div class="MsoNormal">
Yes, my director told me not to follow the three act
structure and instead asked me to work in sequences. This concept of having a
string of scenes with a certain flow to it, was very interesting. For instance,
they say that your script has to be sharp, in order to send it out. So there
are rules like, come into the scene as late as possible and exit early. Lenny
said its true if you want to write an impressive spec script but you are
writing for me and actually filming it. So it was okay to let the scene start
out slowly. I realised that it depended on each director. Lenny said, ‘write it
like a wildlife documentary’. Just let us see this mother and child living and
I will do the cutting.<o:p></o:p></div>
<div class="MsoNormal">
<br /></div>
<div class="MsoNormal">
<b style="mso-bidi-font-weight: normal;">Which format do you
find the easiest to work with?<o:p></o:p></b></div>
<div class="MsoNormal">
<br /></div>
<div class="MsoNormal">
The novel. Nobody tells you it’s too long or too expensive.
And this particular novel came very easily to me.<o:p></o:p></div>
<div class="MsoNormal">
<br /></div>
<div class="MsoNormal">
<b style="mso-bidi-font-weight: normal;">Do you always send
out a synopsis or a chapter to your publishers before writing the book??<o:p></o:p></b></div>
<div class="MsoNormal">
<br /></div>
<div class="MsoNormal">
I always write the entire novel first and send it out. I
never send out only the first chapter. Only once I sent out a synopsis and the
publisher immediately bought it. They paid good money. But I much to prefer to
write the novel. Sometimes they ask for a synopsis but I say no, I want you to
be surprised. That way I’m not influenced by them.<o:p></o:p></div>
<div class="MsoNormal">
<br /></div>
<div class="MsoNormal">
<b style="mso-bidi-font-weight: normal;">What was your
experience like, when pitching your first novel?<o:p></o:p></b></div>
<div class="MsoNormal">
<br /></div>
<div class="MsoNormal">
I wrote the whole book and sent it to an agent who put me
through a lot of rewrites, before we sent it out to publishers.<o:p></o:p></div>
<div class="MsoNormal">
<br /></div>
<div class="MsoNormal">
<br /></div>
<div class="MsoNormal">
<b style="mso-bidi-font-weight: normal;">Did you expect such a
huge response, awards and acclaim for “Room”?<o:p></o:p></b></div>
<div class="MsoNormal">
<br /></div>
<div class="MsoNormal">
No. when I sold the novel, my publishers were excited about
it . But I couldn’t have known that it would translate into so many languages.
I am still amazed with that.<o:p></o:p></div>
<div class="MsoNormal">
<br /></div>
<div class="MsoNormal">
<b style="mso-bidi-font-weight: normal;">What do you think, connected
with the readers across the world?<o:p></o:p></b></div>
<div class="MsoNormal">
<br /></div>
<div class="MsoNormal">
I think I was very lucky to hit on a story, which, even
though the story may sound freakishly unusual, it has something very universal
in it. We are all afraid for a child who is in danger. Also, this is a story of
a mother who is having to take a risk to ensure her child’s future. She
otherwise has a situation which is quite stable. She risks messing up all that,
in order to get themselves free. It’s about those ethical dilemmas of
parenthood. When Jack is growing up, his mother has to let him play outside for
the first time. It’s about every parent letting go of their child slowly. Men
see themselves in Jack and a lot of grandfathers have written to me as well. I
maybe tapped into something about growing up.<o:p></o:p></div>
<div class="MsoNormal">
<br /></div>
<div class="MsoNormal">
<b style="mso-bidi-font-weight: normal;">Along with the mother
finding that immense courage of bundling up the child in the rug, how did you find
the courage as a writer?<o:p></o:p></b></div>
<div class="MsoNormal">
<br /></div>
<div class="MsoNormal">
Yes, the audience is probably thinking, ‘don’t be crazy, he
will end up buried in the garden..’. I was also the cruel captor. I was the one
who didn’t give the family enough, maybe a chair. I was the cruel one. (laughs).
The mother is hiding her pain from Jack so it’s eventually a relief to allow
the mother to release it.<o:p></o:p></div>
<div class="MsoNormal">
<br /></div>
<div class="MsoNormal">
<b style="mso-bidi-font-weight: normal;">Since this was your first
film script, was it easy to get a film made since your novel was already a success?<o:p></o:p></b></div>
<div class="MsoNormal">
<br /></div>
<div class="MsoNormal">
I had written other scripts that never got made. But with
this book, filmmakers approached me. So it put me in a position of power. For
instance I was getting approached from Hollywood, saying, “we loved your book—“<i style="mso-bidi-font-style: normal;">The</i>” Room” and I thought, you have got
the title wrong. Then this Irish director, Lenny Abrahamson wrote a 10-page
letter about the book and how he would like to film it. He was a Philosophy
graduate and I could tell he completely understood the book. And because the
book was such a bestseller, I was in a position to say I want to be the
screenwriter. Though, if he had said my script was rubbish, I would have been
okay with someone else writing it. But he was perfectly happy to work with my
script.<o:p></o:p></div>
<div class="MsoNormal">
<br /></div>
<div class="MsoNormal">
<b style="mso-bidi-font-weight: normal;">Isn’t it otherwise
painful for another writer to work on your baby?<o:p></o:p></b></div>
<div class="MsoNormal">
It’s true but many novelists don’t really like cinema enough
to do it. They see it as cutting up what they have done. So if you are going to
do it, you have to do it in the spirit of enthusiasm for the genre.<o:p></o:p></div>
<div class="MsoNormal">
<br /></div>
<div class="MsoNormal">
<b style="mso-bidi-font-weight: normal;">Did you make many
changes in the film adaptation of your book?<o:p></o:p></b></div>
<div class="MsoNormal">
<br /></div>
<div class="MsoNormal">
None of the changes are really plot changes. We decided to
show less of the story. So, instead of following Jack for months after the
escape, we kept it just a couple of weeks. What’s interesting in the
screenwriting process is you know yourself that things can go in a certain direction
and then you come back to where you began. The director and the producer wanted
to show, maybe not the court scenes but at least the lawyer talking about the
arrest. I put in all those things but I’m glad they took it out again since
it’s not a crime drama.<o:p></o:p></div>
<div class="MsoNormal">
<br /></div>
<div class="MsoNormal">
<b style="mso-bidi-font-weight: normal;">Were you a literature
student?<o:p></o:p></b></div>
<div class="MsoNormal">
<br /></div>
<div class="MsoNormal">
Yes, I was very confident.<o:p></o:p></div>
<div class="MsoNormal">
<br /></div>
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<b style="mso-bidi-font-weight: normal;">Who are your
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<br /></div>
<div class="MsoNormal">
Rohinton Mistry, Alice Munro, Roddy Doyle.<o:p></o:p></div>
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<br /></div>
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<b style="mso-bidi-font-weight: normal;">Do you watch many
movies?<o:p></o:p></b></div>
<div class="MsoNormal">
<br /></div>
<div class="MsoNormal">
I do. I watch a lot of TV as well. There is some great work
there.<o:p></o:p></div>
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<br /></div>
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<b style="mso-bidi-font-weight: normal;">What are you
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<br /></div>
<div class="MsoNormal">
I am looking forward to the second season of “The Crown”. I
am watching Jane Campion’s “Top of the Lake”. I am also adapting other people’s
work for film and TV. It’s a new area for me and exciting to explore that.<o:p></o:p></div>
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<br /></div>
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<b style="mso-bidi-font-weight: normal;">Which book by another
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<br /></div>
<div class="MsoNormal">
God of Small Things.<o:p></o:p></div>
<div class="MsoNormal">
<br /></div>
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<b style="mso-bidi-font-weight: normal;">Do you find the
Indian readers or writers here any different?<o:p></o:p></b></div>
<div class="MsoNormal">
<br /></div>
<div class="MsoNormal">
I don’t know. I have had very little time here. But one
thing I love when my books are reviewed in India, the particular nature of language…Indian
English, fascinates me. You guys are keeping words alive, that had died a
century ago in Canada. Nobody here speaks in a casual or sloppy way.<o:p></o:p></div>
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<br /></div>
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<br /></div>
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Overwhelming to the senses…the colour.. for instance what
you are wearing, no one in Canada would wear something as dazzling unless they
are going to the Oscars.<o:p></o:p></div>
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<br /></div>
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(<i style="mso-bidi-font-style: normal;">And this writer was
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gayatri gaurihttp://www.blogger.com/profile/04375543035604734663noreply@blogger.com0tag:blogger.com,1999:blog-3870014331053487904.post-74975367161596555142017-10-06T00:44:00.000-07:002017-10-06T00:44:04.642-07:00CHEF: CHICKEN SOUP LESSONS FROM SAIF ALI KHAN<div dir="ltr" style="text-align: left;" trbidi="on">
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In a film titled “Chef” which strangely makes you miss out
on the guilty pleasure of watching some food porn, there is one lovely sequence
on the art of making tomato chutney.<o:p></o:p></div>
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<br /></div>
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<span style="mso-spacerun: yes;"> </span>Roshan Kalra (Saif
Ali Khan) is visiting Amritsar with his son, Armaan (Svar Kamble). Sharing his
own childhood journey of how he became a chef, and having given some great<i>
gyaan</i> on how it’s a privilege to feed people like the people doing seva in
Langar at the Golden Temple; he takes Arman to a local dhaba. After all, how
can a trip to Punjab be complete without gorging on those butter laden <i>parathas</i>
and wholesome, thick <i>lassi</i>? As soon as their food is served on the table,
Roshan asks why there is no tomato chutney with rightful icredulousness. The
dhaba was known for the chutney some 30 years ago. Since the glorious chutney
had not been made, our New York return chef gets going to work his magic.<o:p></o:p></div>
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Red, big, juicy tomatoes are stuck on a huge rod and turn
gold and black as they are roasted on the big earthen cooking fire inside the
dhaba kitchen. The camera transfixes you to the piping hot tomato pulp getting
squashed, other ingredients being chopped and Roshan mixing it all on the big,
smoking pan with the deftness of the practiced chef that he is.<o:p></o:p></div>
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The scene is the best part of the film for three reasons.
Firstly, it deals with the character’s<span style="mso-spacerun: yes;">
</span>passion for cooking and traces it to the actual roots of learning.
Secondly, it shows the character passing on the quintessential Indian culture
to the next twitter hooked generation. Finally, it is all about the good, old,
simple, and absolute must food for the soul. That thing called chutney.<o:p></o:p></div>
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However, such moments are far and few. The original
Hollywood film, ‘Chef’, too had missed out on those basic ingredients of real
moments with food and worse: the lack of a conflict; a more vital requirement
of any story. Instead, a massive food truck took centre stage, as in this
Indian remake. <o:p></o:p></div>
<div class="MsoNormal">
<br /></div>
<div class="MsoNormal">
Director, Raja Krishna Menon who had shown his refreshing storytelling
craft in ‘Airlift”, does a great job of retaining the feel good factor of the
original film. He even takes a minor segment of the estranged couple and makes
it more Indian and palatable for the audiences unaccustomed to the dynamics of
a broken family. Menon turns it into a father- son bonding story with lots of
parenting lessons thrown in. One gets to see a Saif not seen before—a kurta
pyjama clad guy from Chandni Chowk and one with a temper. Only, it gets
unintentionally hilarious at points because Saif’s unconvincing acting wherein
he punches a restaurant customer in the beginning, is the most awkward scene.
Clearly Saif Ali Khan is no Albert Pinto. You get a glimpse of the old, self
effacing Saif-the butt of all jokes-- in a nice tete a tete with his ex wife’s
current boyfriend, Milind Soman (who could write a book titled “How to go Grey
and Look Fabulous in a Dhoti”). Then, of course, there is that cute little
reference to his younger ‘Dil Chahta Hai’ days in Goa when he was robbed by a
foreign woman.<o:p></o:p></div>
<div class="MsoNormal">
<br /></div>
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While focusing on<span style="mso-spacerun: yes;">
</span>Saif in this unassuming, simple role along with his interactions with a
lovely fresh cast like the beautiful and ever smiling Padmapriya Janakiraman
and the natural Svar Kamble in the lush city of God; Menon overlooks the essential
food journey and the cinematography required to bring out that spark in the
cooking fire; both visual and metaphorical.<o:p></o:p></div>
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<br /></div>
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<span style="mso-spacerun: yes;"> </span>Here is a beautiful
cinematic opportunity of capturing the utter meditative quality of preparing a
seven course meal or simply a fine salad which looks like a work of art.
Instead we see lots of onion chopping and unappealing, repetitive dishes of
pasta. Something that requires a baawarchi, not a chef—a distinction Roshan
loves to point out. So, instead of a kitchen journey of a man whose soul is one
with aroma and spices; we get a food and culture tour of India. From Kerala to
Amritsar. From Goa to Delhi. From Kochi’s idli appam to Chandni Chowk’s chole
bhature. Which, actually is a great way to Indianise Jon Favreau’s Chef. After
all, India is a land of the most divergent food culture and what better way to
show this through a road journey in a food truck? As is the case with a trip
through Miami, New Orleans and Texas in the Hollywood original.<o:p></o:p></div>
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The only hitch is that you end up longing for the scenic
Kerala roads surrounded by tall, coconut trees and rivers; instead of feasting
your eyes on a mouth watering hot, bubbling pot of saambar. To make you fall
in love with food and spices and watch the artist create with their knives and
hands, one needs more of “Julie and Julia” or “Chocolat”. And less of chicken
soup gyaan.<o:p></o:p></div>
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gayatri gaurihttp://www.blogger.com/profile/04375543035604734663noreply@blogger.com0tag:blogger.com,1999:blog-3870014331053487904.post-68509891734187562392017-08-27T00:48:00.000-07:002017-08-27T00:48:10.684-07:00Babumoshai Bandookbaaz: Nawazuddin’s Script Choice misfires<div dir="ltr" style="text-align: left;" trbidi="on">
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<span style="font-size: 16.0pt;"><b>(First published in Firstpost.com)</b></span></div>
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<span style="font-size: 16.0pt;">Nawazuddin Siddiqui has
mentioned in his interviews that he watched James Bond movies to get into his
character, for the film, ‘Babumoshai Bandookbaaz’. After sitting through the
absolutely meaningless film, you wonder just where does the similarity lie?
Certainly not in the trigger-happy gun in his hand. That bit is ‘Gangs of
Wasseypur’ part three. Perhaps, it’s those steamy scenes with the gals more
smoking hot than the gun;—Bidita Bag and Shraddha Das. And there are plenty of
those. Not that they match a James Bond kissing scene which was too hot to
handle for Pahlaj Nihalani in the last Hollywood release. <o:p></o:p></span></div>
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<span style="font-size: 16.0pt;">But then, who goes for a Nawazuddin
movie for the steamy scenes, vulgar language and violence? Ever since
Nawazuddin played the title role in Manjhi- The Mountain Man, in 2015, he has
been landed with heavyweight films to carry alone on his talented shoulders.
‘Babumoshai Bandookbaaz’ (the title is as pretentious as the film) is his third
such film after ‘Raman Raghav 2.0’ and ‘Haraamkhor’.<o:p></o:p></span></div>
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<span style="font-size: 16.0pt;">Are these script choices along
with the forgettable “Munna Michael”, really good enough for Nawazuddin?<o:p></o:p></span></div>
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<span style="font-size: 16.0pt;"><span style="mso-spacerun: yes;"> </span>‘Raman Raghav 2.0’ may suit the darker side
explored earlier, with some degree of lighter goggle sporting romance in ‘Gangs
of Wasseypur’. However, ‘Babumoshai Bandookbaaz’, directed by Kushan Nandy, is
obsessed with copying the mindless killings in GOW rather than providing a
cohesive story. <o:p></o:p></span></div>
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<span style="font-size: 16.0pt;">Every character in the film,
including the women, is more unscrupulous than the other. Nawaz plays Babu, a
contract killer. He finds himself pitted against a younger contract killer,
Banke (Jatin Goswami) assigned to kill the same targets. <o:p></o:p></span></div>
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<span style="font-size: 16.0pt;">Lust is as prevalent as
gunpowder dust in these UP hinterlands. Be it the wife of a local politician
who flirts away at parties under the amused eyes of her husband or Banke’s
girlfriend (Shraddha Das) as raunchy as Babu’s wife, Fulwa <span style="mso-spacerun: yes;"> </span>(Bidita Bag) or the filthy tongued Jiji (Divya
Dutta) ready to do it in the fields; the women are as one dimensional and dark
as the men. The only redeeming character is the cop with a dozen children;
played with natural ease by the pleasant looking Bhagwan Tiwari.<o:p></o:p></span></div>
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<span style="font-size: 16.0pt;">Surrounded by these
characters, Nawaz is always in his element. However, nothing matches the ever-pleasing
subordinate in Lunch Box or the comic and sincere Pakistani journalist, Chand
Nawab in Bajrangi Bhaijaan; or the shameless bad guy of Badlapur; or the hard
nosed cop in ‘Raees’; or the funny detective bantering with Sridevi in Mom.<o:p></o:p></span></div>
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<span style="font-size: 16.0pt;">Nawaz is no doubt, one of the
best actors who can carry a film on his shoulders without the star baggage.
Leave alone a film; he proved his worth with just a two-minute scene rendered
unforgettable with the most moving performance in <span style="mso-spacerun: yes;"> </span>“New York”. The scene where he describes his
torture at the hands of the Americans, owes its poignance , not to his
dialogues, but to it’s well timed , slight pauses and indelible pain in Nawaz’s
eyes, which don’t resort to, tears alone. Or take the small part of a
journalist in Peepli Live, which is far more memorable than an entire two-hour
film like Babumoshai Bandookbaaz; sequenced aimlessly with bullets and sex.<o:p></o:p></span></div>
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<span style="font-size: 16.0pt;">In the story of rampant
treachery, it is Nawaz, the actor who suffers the biggest betrayal. Besides,
his smaller screen time debut in the past, his real strength lies in his give
and take with his co-actors. There is something more magnetic about him, when
seen sharing the frame with Irrfan Khan, Shahrukh or Sridevi. <span style="mso-spacerun: yes;"> </span>His humour seems more improvised than scripted
and hence, raw and delightful. Like the way he reacts to a painting in Mom or
the way he sings a Shammi Kapoor song…”<i style="mso-bidi-font-style: normal;">Yahoo..chaahe
mujhe koi junglee</i>…” in the same film. In Lunchbox, he could easily outweigh
Irrfan’s presence but remains controlled and is a perfect foil for Irrfan.
Likewise, with Shahrukh in “Raees”, every time they share the frame. The
pleasure of watching Nawaz, simply reacting to the moment, with a touch of that
Nawaz eccentricity, just doubles.<o:p></o:p></span></div>
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<span style="font-size: 16.0pt;">This spontaneous persona is
much missing in Babumoshai Bandukbaaz which was clearly made to encash on
Nawaz’s image as the actor who will brighten up the screen with the darkest moment.
The film, with its pointless plot, can only highlight Nawazuddin’s bad script choices.
Hopefully, he will wisen up and let go of the carrot that once enticed the
Zubeida lead, Manoj Bajpai—the desire to be a star hero.<o:p></o:p></span></div>
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<span style="font-size: 16.0pt;">Then perhaps, James Bond will
also learn a thing or two from Nawazuddin.<o:p></o:p></span></div>
</div>
gayatri gaurihttp://www.blogger.com/profile/04375543035604734663noreply@blogger.com0tag:blogger.com,1999:blog-3870014331053487904.post-51068644441985973212017-08-20T23:54:00.001-07:002017-08-20T23:54:27.297-07:00Kajol as the villainous bitch in VIP 2 Lalkar is cinema's female boss stereotype<div dir="ltr" style="text-align: left;" trbidi="on">
<div class="MsoNormal">
<span style="font-size: 21.3333px;">(First published in DailyO)</span></div>
<div class="MsoNormal">
<br /></div>
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<span style="font-size: 16.0pt;"><span style="mso-spacerun: yes;"> </span>VIP 2 Lalkaar, the Hindi dubbed version
of<span style="mso-spacerun: yes;"> </span>Tamil film, ‘Velai Illa Pattadhari’, is
a cakewalk for Kajol. Literally.<o:p></o:p></span></div>
<div class="MsoNormal">
<br /></div>
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<span style="font-size: 16.0pt;"><span style="mso-spacerun: yes;"> </span>Every time there is significant scene of
victory for her, we see a Mercedes rolling in, along with a fleet of other swanky
cars. The car door opens. A pair of high-heeled feet touch the ground. But of
course. Our films have always built up that anticipation with the hero’s boots
and their sound effects or a child’s feet running and transforming into grown
up legs to encompass the time frame. Then, there is the hero sprawling his
booted legs atop a table, the feet crossing and uncrossing to provide more drama
or rather, heroism. For some reason, cinema has its own idea of power. In VIP 2,
it’s in Kajol’s swagger in those stilettoes.<o:p></o:p></span></div>
<div class="MsoNormal">
<br /></div>
<div class="MsoNormal">
<span style="font-size: 16.0pt;">We see those sexy high heels
step out of the Mercedes, a toss of the red tinted hair and a slow motion walk.
That alone inspires a few appreciative hoots and whistles. <o:p></o:p></span></div>
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<br /></div>
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<span style="font-size: 16.0pt;">Kajol has clearly mastered
the swagger.<o:p></o:p></span></div>
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<br /></div>
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<span style="font-size: 16.0pt;"><span style="mso-spacerun: yes;"> </span>And that’s quite an achievement because the
music that accompanies most of her scenes, might make anyone else freeze on the
spot. The best unintentional comic part comes with a hilarious music track <span style="mso-spacerun: yes;"> </span>when Dhanush sits across her in her office and
is about to say something. First, a soundtrack starts playing, something that
sounds more like a clap echo replay. Then Dhanush gets up, clearly aping the
master—Rajnikanth (the father-in-law), stands leaning on the chair and delivers
the lamest of lines: “ <i style="mso-bidi-font-style: normal;">Madam, main sher ki
dum se zyaada billi kar sar banna pasand karoonga</i>.” Full marks to Kajol for
not bursting out giggling . <o:p></o:p></span></div>
<div class="MsoNormal">
<br /></div>
<div class="MsoNormal">
<span style="font-size: 16.0pt;">Instead, she always has a fit
when confronted with Dhanush, where she helplessly ends up screeching..”WHAT
THE F###?” without even completing the word. The two play rivals in business,
where she is the killer shark in designer pants and he is a small Bombil fry in
lungi. She is Vasundhara, the chairman of a big construction company and he is an
engineer who refuses her job offer. They are well cast in this face-off story.
She looks the part of someone dynamic with arrogance that runs in the blood. He
looks like any harmless engineer happy enough, driving a moped slower than a
bullock cart. Both Kajol and Dhanush perform with full self-awareness of their
star appeal and fan following. They are, indeed, the biggest draw in this VIP
sequel, which, otherwise does not go beyond dialogues that play to the gallery
and song and dance.<o:p></o:p></span></div>
<div class="MsoNormal">
<br /></div>
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<span style="font-size: 16.0pt;">Thankfully, there is no love
angle in their story. And that’s the real USP here. He is the hero and she is
the villain who have the best moment when one rainy night, there is a nice
twist in the tale. It comes too easy and too pat. Yet, Kajol makes the most of
those 5-10 minutes and makes it as good as her haughty swagger.<o:p></o:p></span></div>
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<br /></div>
<div class="MsoNormal">
<span style="font-size: 16.0pt;">The director, Soundarya
Rajnikanth, has made the smartest move by tapping the villain in Kajol. Though
it does seem like a wasted opportunity when compared to Meryl Streep’s Miranda
Priestly in “The Devil Wears Prada”. Meryl was brilliantly terrifying in her icy
cool stares, drop dead softly delivered lines and equally authoritative tilt of
her famous white- gray haired head.<o:p></o:p></span></div>
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<br /></div>
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<span style="font-size: 16.0pt;">Kajol’s Vasundhara is reduced
to a caricature, which apparently reflects the way women of power, are
perceived, as opposed to men of equal status. A male boss usually has the
prerogative to be rude and is shrugged of as—‘He’s the boss’. On the other
hand, a female boss is invariably the bitch. Hence Vasundhara here, is
unscrupulous in her ways, wins every award in the business besides mega bucks
and will not think twice before squashing her rivals under her lovely stilettoes.<o:p></o:p></span></div>
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<br /></div>
<div class="MsoNormal">
<span style="font-size: 16.0pt;">Even if Vasundhara is
stereotyped here, all it needed was to take a leaf from Ekta Kapoor’s famous
temper tantrums. One particular incident comes to mind, involving her chasing
someone out of her office AND building with her shoe in her hand. Kajol, with
her squarish jawline like Ekta’s would have been a perfect carbon copy, in an
off shoulder top and straight hair, mouthing words that went beyond the
alphabet F.<o:p></o:p></span></div>
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<br /></div>
<div class="MsoNormal">
<span style="font-size: 16.0pt;">Unfortunately and inevitably,
this shrew in VIP2, needs to be tamed by the holier than thou hero who worships
his mother and her ghost too. And there lies, the ultimate folly of perception
of man and woman, thanks to Shakespeare.<o:p></o:p></span></div>
<div class="MsoNormal">
<br /></div>
<div class="MsoNormal">
<span style="font-size: 16.0pt;">Well, this Kajol is more
delightful as the shrew than as the virginal Simran too scared to defy her
father. It is another matter that she does not get to go beyond the swagger.<o:p></o:p></span></div>
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<br /></div>
<div class="MsoNormal">
<br /></div>
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gayatri gaurihttp://www.blogger.com/profile/04375543035604734663noreply@blogger.com0tag:blogger.com,1999:blog-3870014331053487904.post-15833590789673830672017-08-07T23:05:00.000-07:002017-08-07T23:05:13.131-07:00Jab Harry Met Sejal: Why SRK's loser act and Anushka's Gujju accent worked for me<div dir="ltr" style="text-align: left;" trbidi="on">
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<span style="font-size: 18.0pt;"><o:p> (First published in DailyO )</o:p></span></div>
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<span style="font-size: 18.0pt;"><o:p><br /></o:p></span></div>
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<span style="font-size: 18.0pt;">In the only ever so slightly
emotional scene in the otherwise lighter than popcorn movie, JHMS, Harry (Shah
Rukh Khan) stands at a seashore and yells out to the horizon—“hello…India..”.
He is on European shores and misses his home, his Punjab, his younger turbaned <i style="mso-bidi-font-style: normal;">avatar</i> with dreams. Just when he starts
telling the deeper truth of his feelings for Sejal (Anushka Sharma), the scene
is rudely interrupted by a blow on his head. The spoiler here is not this
little detail, but the moment rendered incomplete. This is typically Imtiaz
Ali. There is always a gem of an idea, the spark of an insight, which shines and
seduces you to the story. But, dare to go close and the plot digresses and
heads further into Europe’s trams, with no real purpose.<o:p></o:p></span></div>
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<span style="font-size: 18.0pt;">Like his previous film, ‘Tamasha’,
the boy and the girl are on holiday. They met in the beautiful Corsica earlier
and indulged in a lot of role-play bordering into a bipolarity of sorts.
Thankfully, the characters in JHMS, are more rooted, with just enough
complexity to keep us engaged. They are also holidaying. This time, across 5
countries: Prague, Amsterdam, Vienna, Lisbon and Budapest. Tamasha’s Ranbir and
Deepika are quite clear that they will strictly have a holiday romance and
nothing more. JHMS’s Harry and Sejal have<span style="mso-spacerun: yes;">
</span>a somewhat similar pact. Sejal has a fiancé back home amongst rich Gujju
diamond merchants. She calls it<span style="mso-spacerun: yes;">
</span>fa-i-mily business. <o:p></o:p></span></div>
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<span style="font-size: 18.0pt;">As Harry points out, she is
‘sweet’. And pretty like porcelain vase. The ones you admire but don’t touch.
In Harry, she discovers the desire to be desirable…”laayak” as they put it
politely. “Laayak” is the kind of girl who is hot. So she tries to do some cool
moves. <o:p></o:p></span></div>
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<br /></div>
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<span style="font-size: 18.0pt;">Again, there is a momentary
glimpse of a fun character to explore here. A so called good girl who wants to be
selfish and have some ‘bad’ moments before she goes back to the mundane dhokla-
paatra, gold and diamond life of a girl who thinks Amsterdam is in France
(Gujjus may hate the gentle mockery here but this part is genuinely funny).<o:p></o:p></span></div>
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<span style="font-size: 18.0pt;">But Imtiaz refuses to go into
Sejal’s wilder side and plays it safe. Likewise, with Harry. Shahrukh’s Harry
is a world weary, seasoned Romeo who is a tour guide in Europe. He would rather
drive a tractor across the fields of Punjab and sing louder than the sound of
the tractor. Ever since Subhash Ghai’s ‘Pardes’ and Aditya Chopra’s ‘Dilwale
Dulhaniya Le Jayenge’, the stories are written with one eye at the NRI box
office. Which sadly, has Harry with one foot<span style="mso-spacerun: yes;">
</span>and a dimple charming every female client in Europe and the other
itching to do<i style="mso-bidi-font-style: normal;"> bhangra </i>with his only
true love as desi as the <i style="mso-bidi-font-style: normal;">makhhan or dhokla.<o:p></o:p></i></span></div>
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<span style="font-size: 18.0pt;">Whenever the real, lonely
Harry emerges and allows himself to be vulnerable enough to ask for a simple
hug from the sweet Sejal, the duo come closer to a romance more mature than a teenybopper
lost-in-the- woods ride.<o:p></o:p></span></div>
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<span style="font-size: 18.0pt;">Shahrukh’s sense of comic
timing, his ‘trying to be cheap’ body language, overrides his past work as the
typical romantic hero with his arms spread wide. For most part of the film, he
is simply engaged in a conversation with the heroine. There is not much of plot
here and it would have been one monotonous version of “Before Sunrise” if it
wasn’t for the interesting characters and both the actors bringing in a fresh
energy that bounces off each other beautifully and the two tango better than
“Rab ne bana de Jodi” and “Jab Tak Hai Jaan’.<o:p></o:p></span></div>
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<span style="font-size: 18.0pt;">Hopefully, in Imtiaz’s next
film, we will see a wilder Sejal and a more intense Harry in a story that actually
has some answers. Where they can go beyond “ <i style="mso-bidi-font-style: normal;">tractor se unchi awaaz’</i> and <i style="mso-bidi-font-style: normal;">“
gote kinare ki chunari’</i> on the Yash Chopra tinted Punjab fields. Until
then, Anushka’s dumb Sejal ben and Shahrukh’s loser Harinder charm us enough
with all the seeking and soul searching.<o:p></o:p></span></div>
</div>
gayatri gaurihttp://www.blogger.com/profile/04375543035604734663noreply@blogger.com0tag:blogger.com,1999:blog-3870014331053487904.post-1300455986469588562017-07-23T02:33:00.000-07:002017-07-23T02:33:00.516-07:00LIPSTICK UNDER MY BURKHA<div dir="ltr" style="text-align: left;" trbidi="on">
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SHE’S NOT THE ONLY ONE (WITH APOLOGIES TO JOHN LENNON)<o:p></o:p></div>
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<br /></div>
<div class="MsoNormal">
Imagine a world of equals<o:p></o:p></div>
<div class="MsoNormal">
It’s easy if you try<o:p></o:p></div>
<div class="MsoNormal">
No burkhas, no double standards <o:p></o:p></div>
<div class="MsoNormal">
Feel free to dream and fly<o:p></o:p></div>
<div class="MsoNormal">
Imagine all the men, respecting their women<o:p></o:p></div>
<div class="MsoNormal">
<br /></div>
<div class="MsoNormal">
Imagine there’s no shame<o:p></o:p></div>
<div class="MsoNormal">
It isn’t hard to do<o:p></o:p></div>
<div class="MsoNormal">
Nothing to stop a 55 year old widow<o:p></o:p></div>
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From enjoying secret pulp heroine ,Rosie, too<o:p></o:p></div>
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Imagine all the Rosies living their fantasies….you..<o:p></o:p></div>
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<br /></div>
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You may say, Rosie is a dreamer<o:p></o:p></div>
<div class="MsoNormal">
But she’s not the only one<o:p></o:p></div>
<div class="MsoNormal">
She is the teen burkha clad girl who is denied jeans<o:p></o:p></div>
<div class="MsoNormal">
Lipstick and Miley Cyrus are her ideas of freedom<o:p></o:p></div>
<div class="MsoNormal">
<br /></div>
<div class="MsoNormal">
Imagine no restrictions<o:p></o:p></div>
<div class="MsoNormal">
Men feel impotent if you can<o:p></o:p></div>
<div class="MsoNormal">
No fear of forced marital rapes without condoms<o:p></o:p></div>
<div class="MsoNormal">
By husbands who wham bam and also f##k another ma’m<o:p></o:p></div>
<div class="MsoNormal">
Imagine all the Rosies<o:p></o:p></div>
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<span style="mso-spacerun: yes;"> </span>Free to wear
swimsuits and dive into sexual fantasies…you<o:p></o:p></div>
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<br /></div>
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You may say ‘Lipstick Under A Burkha’ is the work of a half-dreamer<o:p></o:p></div>
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She is not the only one<o:p></o:p></div>
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I hope there are women who dare to dream more<o:p></o:p></div>
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Who can say along with men, we are one…<o:p></o:p></div>
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<br /></div>
<div class="MsoNormal">
Imagine a film so real<o:p></o:p></div>
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The scenes not so abrupt<o:p></o:p></div>
<div class="MsoNormal">
Where men are less stereotype<o:p></o:p></div>
<div class="MsoNormal">
And women can spout and erupt<o:p></o:p></div>
<div class="MsoNormal">
Purdah be damned n lipstick not wiped<o:p></o:p></div>
<div class="MsoNormal">
<br /></div>
<div class="MsoNormal">
You may enjoy mild Hindi porn as a delightful voiceover<o:p></o:p></div>
<div class="MsoNormal">
“Lipstick Waale Sapne”, something..”waale sapne”<o:p></o:p></div>
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Rock as guilty pleasure book titles<o:p></o:p></div>
<div class="MsoNormal">
With voices choked by orthodox <i style="mso-bidi-font-style: normal;">mere apne</i><o:p></o:p></div>
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The film could be a Manto like winner… <o:p></o:p></div>
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<br /></div>
<div class="MsoNormal">
<br /></div>
<div class="MsoNormal">
<br /></div>
<div class="MsoNormal">
<br /></div>
<div class="MsoNormal">
<br /></div>
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gayatri gaurihttp://www.blogger.com/profile/04375543035604734663noreply@blogger.com0tag:blogger.com,1999:blog-3870014331053487904.post-91682031457050243482017-02-01T21:52:00.001-08:002017-02-01T21:52:29.863-08:00Dear Zindagi review: Shah Rukh Khan hops on the 'gyan' bandwagon yet charms with his presence<div dir="ltr" style="text-align: left;" trbidi="on">
(First published in Firstpost.com)<br />
<br />
It all started with Aamir Khan in 3 Idiots and followed by the over-the-top, preachy guru gyan in PK. Next came Amitabh Bachchan in Pink, the dialogue delivery master disguised as a lawyer whose booming speech on ‘NO’ was met with an equally resounding “YES” from audiences - young and old, men and women. Papas can preach.<br />
<br />
Provided they are superstars.
Now comes Shah Rukh Khan, dropping every hamming trick from his Rahul dictionary, completely sidestepping out of the heroine’s way (Huge Leap for the Bollywood Hero) and yet saying 'main hoon na' with equal charm, style and confidence and oozing that superstar screen presence while staying silent and simply listening. True charisma, that.<br />
<br />
In Dear Zindagi, Alia Bhatt represents today’s young, liberated woman who seems to have it all and is yet lost, alone, confused and very, very scared. She is a talented cinematographer but believes that she is not taken seriously because she is also hot. She has tall and handsome lovers (Kunal Kapoor, Angad Bedi, Ali Zafar) willing to go the extra mile for her but she always ends up breaking up with them.<br />
<br />
In other words, she is complicated. At some point, she starts getting sleepless nights and decides to see a therapist. Who better than the charming and easy going Dr Jehangir Khan (Shah Rukh Khan) who is completely at home playing kabaddi with the waves, cycling along and giving life lessons on love.
A character like Alia’s makes for a very contemporary premise and when cast opposite the King of romance, it’s a double whammy. Director Gauri Shinde, who has earlier worked with an equally delightful Sridevi in her debut gem English Vinglish, works her magic with a wonderful casting coup, the second time too. Both these movies remind me of Queen where the protagonist is a helpless woman who finds herself through some soul searching. What’s remarkable and gratifying about these stories is that they have an underlying and a very subtle feminist tone without being in the male bashing territory<br />
<br />
.One could always argue that both Pink and Dear Zindagi needed and resorted to a male mentor or that superstar knight with lots of gyan to support and rescue the hapless, young heroine. Would these stories work without that father figure if not the romantic hero? And would these stories work without the iconic presence of Bachchan and Shahrukh? They would not raise that much curiosity or interest or footfalls in the theatre, perhaps.
Imagine both the movies having a female lawyer or therapist as in the case of Jodie Foster starer The Accused. Would Priyanka Chopra as a lawyer inspire the same confidence in the subject as Amitabh Bachchan did?<br />
<br />
That’s a risk which filmmakers are probably not ready to take yet. When Rani Mukherjee played the journalist backing Vidya Balan’s character in No One Killed Jessica, it made for interesting viewing but had few takers.
In Dear Zindagi, the subject itself, while being the most relevant today, lends itself to a very urban, multiplex audience. Hence a lot hinges on the casting and Ms Shinde is fully aware of this. Also, to his credit, the gracious superstar Khan brings out the best in Alia, just like their characters, Jehangir and Kaira.<br />
<br />
Watch how Alia springs alive like the fresh, white daisies on her table, with every shade of emotion possible; nervously declares… “I like you…. I really like you”, looking vulnerable and hopeful at the same time; or speaks with a voice hoarse with unexpressed, deep sadness.<br />
<br />
The fact that a superstar like Shahrukh Khan is willing to play a supportive role that lasts a mere 40 minutes on screen, is by itself an applaud worthy change in Hindi cinema. Thanks to a woman (Shinde).<br />
<br />
So what if you still need a man to tell a woman that it’s okay to date more than one man. That’s okay too.</div>
gayatri gaurihttp://www.blogger.com/profile/04375543035604734663noreply@blogger.com0tag:blogger.com,1999:blog-3870014331053487904.post-76563662993103619212016-07-03T22:28:00.000-07:002016-07-03T22:30:55.126-07:00"There is no shame in depression" : Shriya Pilgaonkar<div dir="ltr" style="text-align: left;" trbidi="on">
<br />
Shriya Pilgaonkar, daughter of Sachin Pilgaonkar and Supriya Pilgaonkar, made an impressive debut in Hindi films, opposite Shahrukh Khan in "Fan". She talks to me about happiness and dealing with depression and how she says YES to Life.<br />
<br />
Here's the video and the transcription:<br />
<a href="https://www.youtube.com/watch?v=CnTNwBfANio">https://www.youtube.com/watch?v=CnTNwBfANio</a><br />
<br />
<br />
<br />
ON HAPPINESS:<br />
<br />
Happiness is that unshakeable life condition which is not based on anything. Happiness is hope, a state of gratitude. It's just that feeling of being alive which is not dependent on anything.<br />
<br />
LOW MOMENTS:<br />
<br />
Firstly a low is a transient moment, it's going to pass. My dog is my stress buster. I love food, I read a lot. I also meditate a lot when there is too much on my mind.. I find my own corner space, I also pray. I find a lot of peace in praying.<br />
<br />
ON CLINICAL DEPRESSION:<br />
<br />
I haven't experienced it myself. The most important thing is awareness and to talk about it. There is no shame in being associated with bipolarity or any other form of depression. Communication is the key. ....To be able to talk to people, to have the courage to understand that being clinically depressed is not a finality and one can change it. We have to take complete responsibility to want to feel better, to have a better life and things wont just happen.<br />
<br />
ON STRESS IN THE FILM INDUSTRY:<br />
<br />
Any work space has its own stress. As actors, the anxiety is much more, you put your insecurity out there and you are put on a pedestal sometimes and you can fall from it. It's important to respect your own journey. There is no point in comparing yourself to other people. If you are aware that anxiety will not help you, then you wouldn't want to feel anxious. As an actor so much about the performance is the energy and vibe you bring on screen.There is no space for negativity then. If you do feel anxious, you can convert it into a good kind of anxiety. There is good anxiety and there is bad anxiety. You can' t really tear yourself down and be hard on yourself. So you enjoy your work more when you are relaxed.<br />
<br />
<b><i>Please share and subscribe to the video and say YES to life.</i></b><br />
<b><i><br /></i></b>
<b><i><a href="https://www.youtube.com/channel/UCeFAunD8QPAbwY4-LCC0Y4A">https://www.youtube.com/channel/UCeFAunD8QPAbwY4-LCC0Y4A</a></i></b><br />
<br /><br />
<br /></div>
gayatri gaurihttp://www.blogger.com/profile/04375543035604734663noreply@blogger.com0tag:blogger.com,1999:blog-3870014331053487904.post-4073615525216339112016-05-25T02:27:00.001-07:002016-05-25T02:27:07.094-07:00SAY YES TO..LIFE WITH SAYANI GUPTA<div dir="ltr" style="text-align: left;" trbidi="on">
<br />
THS IS A NEW LIFE AFFIRMING SERIES WITH CELEBRITIES ON MY YOUTUBE CHANNEL.<br />
<br />
HERE'S THE LINK AND TRANSCRIPTION.<br />
<br />
<a href="https://www.youtube.com/watch?v=kENNlojtgqw&list=PLp0ZWLvyaByAxUg5lrGJ6nBkTXo6Sw5FZ">https://www.youtube.com/watch?v=kENNlojtgqw&list=PLp0ZWLvyaByAxUg5lrGJ6nBkTXo6Sw5FZ</a><br />
<br />
<br />
Transcription of Say Yes to Life with SAYANI GUPTA.<br />
<br />
"Say No To Suicide, Say Yes to Life":Sayani<br />
<br />
<i><br /></i>
<i>What are your views on happiness?</i><br />
<br />
Happiness, I think, is what makes you feel floaty and really good about yourself. I really believe n having fun, every moment. I don't live in the future, I don't dwell in the past. That's the kind of the person I am.<br />
<br />
<i>How do you deal with low moments?</i><br />
<br />
I go out to eat. I have my comfort food which is Bengali food. Or I go eat Sushi or Thai, indulge in lots of sweets. And yeah, sleep. It's the best, ever. You wake up after a good nap and everything seems brighter.<br />
<br />
<i>If clinically depressed, would you take help from a doctor?</i><br />
<br />
Absolutely. Our generation needs to be more aware of this because our parents generation did not know much. They thought going to a shrink or a counsellor is something like a mental problem. It's not. What is always important and really helpful is if you can discuss your problems with someone who knows how to tackle it. Depression is so rampant today, every second person is going through depression. It's due to the quality of life we live today, we all have become individualistic, we all want so much, the want is going up and up and up. Like we are never satisfied with what we have. we are not satisfied with simple things that people used to be happy with. We are going away from out family. Most of us live alone in big cities.<br />
<br />
The biggest blessing you can have from God is -friends. whatever you are going through, you always need people to speak to. It's only that one moment when you might want to take your life away. It's not worth it. It's one life you've got. trust me, this is the best probably you could have got. If you were to exchange lives with someone else, you will still be okay with your set of problems because you don;t know the other's world. Everyone goes through ups and downs. Nobody stays happy unless you have reached a stage of nirvana. The idea is to even enjoy the low moments.<br />
My nani used to say, there is a Rabindranath Tagore line which means ' whoever you give your flag to, give him the strength to bear it also".<br />
<br />
When my father passed away, I had imagined many things earlier. Bout his passing away was the most beautiful, most incredible moment of my life.I literally realised what life is about. I believe that even if he is no ore, he actually is, in so many ways. Something gave me enormous strength. whatever doesn't kill you, makes you stronger.<br />
<br />
TO SPREAD THIS MESSAGE, PLEASE SHARE THE VIDEO AND SUBSCRIBE TO MY YOUTUBE CHANNEL.<br />
<br />
SAY YES TO...LIFE.<br />
<br />
<br />
<br />
<u><br /></u>
<u><br /></u></div>
gayatri gaurihttp://www.blogger.com/profile/04375543035604734663noreply@blogger.com0