Interstellar

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I think it is one of Christopher Nolan’s greatest till now. But it is not going to be that popular. Some will hate it because it is too expository, shallow, cliche-yish and the posturing with ideas. Some will hate it because Nolan disappointed them in their idea of fun. It has the same fate that looms over all the artists who try to make ‘popular art’- they will not completely satisfy anyone but none can dismiss them either.

And please don’t drag Tarkovsky in here. That is obscene. If you want, let’s talk about 2001: A space odyssey. The difference is obscurity and the awe that it offers. But Nolan doesn’t have that privilege. Nor the guts. Because he has a billion dollar fan base to please.

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About Time

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It was a random choice. I didn’t even know that Richard Curtis (Four Weddings and a Funeral, Nottinghill) wrote and directed this until the title credits in the end. I did not know that this was about time travel till 10 minutes into the movie (Not ‘I can go back and kill Hitler’ kind, but ‘I can go back to an earlier point in my own life’ kind). And I didn’t realise that a movie about time travel can turn into such a touching examination about our own obsession about ‘making the right decisions.’ That it can be a bittersweet chronicle of the irretrievability of our experiences and our moments with the loved ones. It reminded me that the most tragic part of our existence is not death but the irreversibility of something that happens in the past.

It is a warm movie that wore its heart on its sleeve. Probably that’s why critics didn’t love it much. 

The Lunchbox

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What is that makes The Lunchbox special? The restrain; the control over the medium. There are no characters here retching out their deepest emotions in a verbal diarrhoea. The background score doesn’t hit you with a hammer in case you miss what is happening on screen. The actors don’t go into convulsions trying to act. Every scene has a certain effortless charm. Indeed this is a director’s film.

In terms of the basic premise, the movie reminded me of the National award winning Malayalam film ‘Mathilukal’ (The Walls) by Adoor Gopalakrishnan. Instead of a lunchbox, the story device there is a prison wall separating male and female sections. And we never see the female character.

The Lunchbox is perfect except for its last 10 minutes. I personally feel that the movie should have ended with that beautiful voiceover in the coffee shop. After that, it appeared that the writer director is trying hard to be unpredictable (or ‘artsy’ if that is what you would like to call it). But sometimes predictability is better than clumsiness.

Shudh Desi Romance

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Last minute jitters and runaway bride (grooms) have been preoccupations of Hollywood romantic comedies for a while. Now Jaideep Sahni gives an authentic Indian spin to the much idealised ‘commitment phobitis.’ The movie has sparkling dialogue, quirky characters, circumvented cliches, great performances. But eventually you get exasperated because of the forced cleverness- the characters never feel really real because they all are hell bend on not reacting genuinely to the situations they are in. After every heart break, the characters picks up the pieces and move on so easily that you really doubt whether there was any ‘romance’ in the first place, let alone ‘Shudh.’ These characters are too smart, and also too phony. When second half steers into familiar triangle territory, I couldn’t help imagining Jaideep Sahni in golden shackles with a Yash Chopra stamp on a heart shaped padlock.

Talaash: why procedural thrillers fail

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 Major spoilers ahead

 -Limitless point of view

If the central character is not the eye of the audience into the world, it is difficult to maintain the intrigue. Here Surjan learns about anything important at least 5 minutes after audience knows about it. Be it the involvement of Sasi or Tehmur in the plot or what happens to Tehmur with the money bag, we are always ahead of Surjan. And we are forced to patiently wait while he figures out what has happened.

-Ineffectual central character

When I think about it, this thriller doesn’t even require Surjan for it to happen. He just happens to be in the middle of it, effectless. The decisions or fates of Sasi or Tehmur or Armaan Kapur’s friend don’t appear to be influenced by Surjan in any way that really matters.

 -Confusing your tone

Well, I know there are movies that has done the ‘genre jump’ well. But my problem is not that it starts off as a investigative thriller and ends as a supernatural thriller, but that it takes the emotional angle little too seriously without being able to really pull it off well. As a result, the movie has two centers of gravity which pull at each other. One the crime thriller and the other the father-son-wife angle.

 -Character cliches

The investigator with an unresolved conflict going into a investigation and coming out sorted out is the oldest trick in the book. The marriage in ruins- check. The all knowing, seductive femme fatale- check. The accommodating, convenient right hand man- check.

 -Single kill

In the current age, we have seen all kinds of tricks to pull a twist. A single reveal is not enough. You have to be ready with a second one. The twist in this one can be seen coming from miles ahead. As Tony Gilroy rightly said, audience now are very good in second guessing the writer. You can’t rely on a single twist. After the reveal, I just hoped that something else is coming- because the reveal was so obvious and derivative I wrongly assumed that writers are aware how obvious it is.

 -Sticking around after the final kill

Once you have pulled out your last trick, get out of there as fast as possible. Elaborate epilogues happen when the writer underestimates the audience or when he confuses the objectives he has with the story. This movie could have ended at least 4-5 minutes earlier I guess. And the longer the movie is after the reveal, the more diluted the impact of the final reveal.

 

 

 

 

 

 

 

 

 

 

Life of Pi

It is always with a feeling of impending doom that I watch an adapted film where I have already read the book. It is very difficult for an adapted movie to satisfy a book lover.

In that sense, Ang Lee deserves credit for pulling it off. Instead of being an re-interpretation or reiteration of the book the film becomes the completion of the book. May be it also reflects on the personality of Ang Lee he doesn’t feel the need to forcefully change something to establish his authority over his work. The visuals and imagery of the film were what the book was lacking. My only gripe is that the spiritual discourse and Pi’s tryst with religions in the beginning was a little bit too much on the face. Because of that hammering, it is now difficult for the movie to transcend the author/ film maker dictated meanings and symbolism.

Regardless of nitpicking, Life of Pi is one of those poetic masterpieces that you know you are going to love even before the title credits are over. One of those stimulating reminders that cinema can enrich us rather than just provide some mind numbing cacophony.

Looper

Looper is in some ways what Inception is not. And one of those ways is that it never becomes a complete big studio movie package experience. Looper shows the courage to make some dark choices. The central characters and their actions are not dictated by audience approval. And that makes it a little more unpredictable. The movie does not tie up everything in a pretty bow for you to go home hollow.

If you go in expecting an action film you will be disappointed. It doesn’t have elaborate and expensive set pieces winding down endlessly to pumping music. And I felt that the visual aesthetics are a little raw. May be intentional. And we feel an emotional disconnect with the central characters except with that of Emily Blunt.

Rian Johnson again brings in some refreshing originality after Brick and Brothers Bloom. I am quite sure that there will be as many people hating Looper as much as who love it. But for a 30 million dollar investment, it is a movie made with some guts.