LA JETEE (French) (1962)

An experimental and path breaking short film consists of just 26 minutes duration and made with black and white still images (no, it’s not motion picture literally). Many critics regarded it as sci-fi film but for me it’s quite indescribable metaphysical and emotional experience fall short to put in words. Chris Marker’s this film is a statement and manipulation on time, space and human conditioning of mind. It’s a film about photographic images stored in human memory, quite eternal experience for the protagonist who was compelled to time travel first in past than in future where he encounters two most closest images stored in his mind- a violent death of stranger and a beautiful woman at airport. The shocking tragedy is stored in the end when he moves to present.

It’s quite extraordinary feat to achieve in cinema with just still photographs. I still asking myself- How can I attached myself emotionally to a protagonist who never moves or speaks in entire film? And yet my heart miss a bit in the last frame when he witnessed his most beloved woman in the end with something simultaneously surprising and shocking at personal level. Is time and beauty are just abstract and fragmentary or so eternal for mortal human and his memory??? Above all what is a man without his memory??? The answers are not easy to find. Hail to Chris Marker who infuses the film with thought provoking narrative thrusting us into different territory with images looks like photographic journalism and showing us all that moving pictures need not always move to move us. I watched it two times back to back and love to watch it time and again…

Truly an unconventional piece of French cinema and the film beyond all ratings.

PS- It’s not a film for anybody and everybody. Don’t blame me or the film if you don’t like it…watch it again and again and hopefully some day you will!!!

THE KILLING (1956)

“I often thought that the gangster and the artist are the same in the eyes of masses. They are admired and hero worshipped but there is always present others to see them destroyed at the peak of their growth.”

After making some of the innovative short films and ‘Killer’s Kiss’ (a mere one hour film) this is first full length motion picture of Master Stanley Kubrick introducing the flashes of his pool of talents. The plot, characters and execution is quite noirish; as it was the age of some of the finest film noire of all-time. A perfect plan and jobs all set up to make a history to rob racetrack office and cut million dollars in partnership between few desperate men for money until one of the teammate did the stupid mistake revealing her bitch like wife.

It’s not great plot but Kubrick’s way of narration makes it interesting and arresting watch. He told the story from multiple characters’ perspectives, quite hot thing in today’s Hollywood. Black & White cinematography is classic one and Editing is taut and gritty not giving us much time to predict what happens next. Tension keeps rolling all over in the brilliant climax where we noticed how Johnny and his punters handled the given tasks when fate is not favoring them. The oversized bag loaded with loot money at airport is another twist, though today’s smart audience predicts its end. Sterling Hayden is just brilliant as Johnny, another fine reason to watch.

Worth to watch for all Kubrick fans.

Ratings-8/10

THE CONVERSATION (1974)

What’s the first impression of well made film? The beginning which grips and absorbs us to the world of screen where plot, story telling and characters let us forget the real world around for next couple of hours and the ending which blow your senses and it’s an experience permanently locked in your memory. ‘The Conversation’ is brilliantly made film from Hollywood’s insurmountable director Francis Ford Coppola. I must say that technically and individually it marks Coppola’s auteur status along with his three other masterpieces that he made in 80’s back to back, one after another. It was peak of his career and decade of Coppola - ‘The Godfather’ (1972), ‘The Godfather II’ and ‘The Conversation’(1974), ‘Apocalypse Now’ (1979). Needless to say whatever he made after these always considered average and inferior by audience and critics.

Back to another brilliant opening scene of Coppola film (need I say the first one!) where distorting and indistinct sounds and slowly zooming camera alert us to pay all our ears and eyes focused on two strangers circling around and conversing with each other among crowded street of New York and within moments we are slowly introduced to the world of professional sound recorder Harry Caul and it’s his 42nd birthday. He’s intriguing and enigmatic expert living alone in an apartment room locked by three separate locks and an intruding alarm, having a personal telephone unknown to anybody. Even his girlfriend doesn’t know anything personal and private about his life and career. He hates men asking questions. Harry is obsessed professional who constantly rewind, forward and pause his recorded tapes and paying all his ears to scrutinize the meaning behind all cacophony.

Coppola made an unpredictable and gripping film which slowly and steadily gives you jolts. The plot reminds me Antonioni’s classic ‘Blow Up’; surely an influence for Coppola to make this. There’re some close similarities between lead players too. If Antonioni’s original version is about a professional photographer’s desperation to find the truth, here its madness of sound expert to find the hidden crux of the matter. No, it’s not curiosity of human nature that dragged these guys to hunt for real truth but a challenging and intriguing material that dragged them towards madness to seek the minute detailing. Unfolding the puzzle is their only sense of personal goal. But what happens when poor Harry knows the truth; well you better watch the film.

Gene Hackman is the man to watch as Harry Caul, arguably his one of the most committed performance of career. Fine ragtime piano and saxophone played in background score. Editing is extraordinary especially great use of sound montage editing creating intriguing to chilling mood from beginning to climax. Sound editor Walter Murch deserves standing ovation along with Coppola as a writer and director.

Like great beginning the ending is striking too and not all great films strikes like this. The tapes are rolling constantly in Harry’s mind, he’s feeling paranoiac hallucinations in hotel room and back home a secret telephone is ringing and revealing that the bugger is bugged physically or to be more precise mentally!!! Camera slowly shows us the state of distorted home symbolizing his own mind. What a play with subjective and objective truth!!!

Coppola again made me speechless.

Ratings- 10/10

FAT GIRL (French) (2001)

A disturbingly tragic and shocking film about adolescent sexuality of two sibling sisters; the elder one is less than sixteen, attractive, proportionate in figure and more desirable and the younger one is twelve years old, fat, average looking but more individualistic in her approach towards sex. Though it has depiction of explicit nudity in long scenes, it didn’t give you any sort of erotic feel. Don’t confuse sexual issue with sexy film. It’s not a film for compulsive or obsessed porn maniacs but mature audience who want to hear the individualistic feminine voice with close and intimate detailing directed by a female filmmaker who’s often preoccupied with challenging sexual themes.

Contemporary cinema’s one of the most controversial filmmaker Catherine Breillat dealt a very delicate and complex subject of sibling rivalry and early teenage sexuality from two young girls’ perspective. Breillat kept the portrayal of fat and younger sister Anais so sensitively and sympathetically in convincing manner. She’s silent observer witnessing her elder sister’s intercourse with her boyfriend. On the contrary the elder sister loves to take more liberty with her libido trying to seek mythical ‘love in sex’ during her first sexual encounter. Anais is too young and not mature enough to think what to do with her emerging sexual urges and yet she’s very clear about it. In the very beginning of the film she tells her elder sister, “Personally, I want my first time to be with any boy I don’t love.” And we witness exactly the disturbing encounter of her wish fulfillment in the end when she ended up being raped with quite unresisting consensus. For her rape is like liberation of her repressed urge of body and mind. Yet she comes out as strong individual girl who doesn’t want to sleep with any male and refused to be an emotional fool and sexual victim like her gullible elder sister.

Another important theme of the film is society’s set parameters about ideal body image of woman. Does fat girl seek same male gaze or attention or social image? On the other hand most of the time they have to confront and accept the ugly reality. The last freezing frame of the film compels us to think hard about poor but smarter Anais who refused being raped to cops. Punching stroke of final frame!

Eager to watch other Breillat films…

Ratings- 7.5/10

DEMENTIA 13 (1963)

Francis Ford Coppola’s impressive and noirish kind of thrilling murder mystery set in gothic manor house. It’s a debut film of Coppola as writer and director. The story revolves around the murder of various members of Haloran family with a subplot of dark hidden past. The film has many Hitchcokian elements like camera placing, execution of plot and intriguing treatment. The influence of ‘Psycho’ is quite visible. Watching it I just wonder that was it made by the same man who directed ‘Godfather trilogy’ or ‘Apocalypse Now’.

Along with direction, Coppola’s self written screenplay is taut and gripping one. But the main reason why he received much notice in Holllywood after this film is that he managed to make a fine haunting film with just a shoestring budget with cheapest B&W available print and one hour fifteen minutes duration roping some of the unknown or rather B grade actors. One of the insider anecdotes behind its making is revealing one to share with cinebuffs. While working as an assistant director in his initial struggling days, Coppola wrote a quick proposal to B grader maestro producer Roger Corman to give him directorial chance, arguing that with the crew already available on location he can reduce the cost and made another film.

The hunger of creativity always gives birth to genius and undoubtedly Coppola is one of them.
Recommended for any suspense thriller fans.

Ratings- 7/10

GHOST DOG: THE WAY OF SAMURAI (1999)

“Rather than finding a story that I want to tell and than adding the details, I collect the details and then try to construct a puzzle or a story.”
– Jim Jarsmusch (sounds like Godard!!!)

This is my second Jim Jarsmusch film after ‘Dead Man’ and this is another indescribable experience for me to put in words. It seems that he’s preoccupied with the theme of ‘Death’; this time as ‘a way of samurai’. A professional killer and solitary outsider, who left no trace of his work, follows his tasks and contracts religiously sticking to codes of samurai, he has neither friends nor any sort of emotional tie up with anyone. He lives in a shack on the roof of the building and uses pigeons to communicate with his contracts in the world full of internet and cell phone.

Forrest Whitaker looks and performs with utmost nuances the most enigmatic character of his life; as formidable adversary as a big bear. It would be hard to replace him here with any other actor. I like the scene where dog is staring at him followed up by a smart neighborhood girl sitting on a bench asking him some personal questions curiously. It’s a prop scene used to know us a mysterious and stranger than fiction personality of Ghost Dog; though it tells few things about what he likes- choco ice cream, a game of chess and most significantly the books.

Attitude of the lead character towards life is perhaps the thematic parameter of Jarsmusch’s independent style. He paid his homage to Kurosawa’s ‘Rashoman’ in the film itself and another clear one is Jean Pierre Melville’s brilliant French classic ‘Le Samourai’. Though both of films are nuggets of world cinema, Jarsmusch marked his independent impression as an auteur giving it new disciplined height. One can watch influence in his films ranging from French New wave films to minimalist cinema of Japanese filmmakers in this film. Another great thing to notice is the portrayal of Multiculturalism prevalent in American great salad bowl society.

Music is another integral part of Jarsmusch cinema. Neil young’s solo guitar used so wonderfully in ‘Dead Man’; here too RZA’s hip hop soundtrack creates a different mood for the film from the beginning flight of a pigeon or when Whitaker is practicing sword on terrace. Camera work is extraordinary and while reading all those brilliant underpinning philosophical codes followed throughout the film, I’m just so desperate to hunt for the copy of ‘Hagakure: The Book of Samurai.’

Must watch for anyone who loves literature and cinema from all corners of the world.

Ratings-9/10

7G RAINBOW COLONY (Tamil) (2004)

When most of the love stories ended sadly in commercial films they didn’t convey in the end a subtle positive message of love and its endurance in life. Tamil cinema’s happening new breed of director Selvaraghvan took a common love story to a different height with his refreshing execution and narration as convincing natural as possible. Here love transformed colony’s good for nothing young man into a nice human being. Though he lost in accident the dearest person of his life on the day he achieved; he not only saves the grace of her beloved for her parents permanently but also learns to accept the life with a place for his beloved in heart. He keeps watching her imaginary divine presence and embrace life with her fond memory. It made anybody speechless to know that it’s based on true affair.

On surface 7 G looks like a routine crush between a good for nothing young boy of lower middle class family and a newly arrived girl in colony. It has all commercial ingredients of romance, comedy, songs and emotional drama but at the same time having natural and lifelike treatment of story telling, portrayal of characters with which you connect without any extra effort and simple and touching narration of any small town young boy’s first crush makes it a refreshing experience.

The lead pair Ravi Krishna and Sonia Agarwal are amateur actors and have huge difference between them in characterization from looks to nature, though the director managed to get refreshing chemistry with fine intimate moments from both. Few romantic scenes and lines will linger in memory for any youth who’s having a girlfriend or desiring one. I just love the character of Lakshami played so wonderfully by Suman Setty. He’s inseparable part of the film even though he’s used as hero’s sidekick. The scene on terrace with alarm clock is so naturally hilarious one that for the moment we forget to pay attention to the lovers who’re meeting personally for the first time.

Its length of three hours which is the biggest drawback of the film; making it quite epical to watch! Had it been trimmed and edited better and abstained few unnecessary stuffed songs or repetitive scenes it would be more delightful.

Ratings-8/10

VIRIDIANA (Spanish) (1961)

‘Fortunately, somewhere between chance and mystery lies imagination, the only thing that protects our freedom, despite the fact that people keep trying to reduce it or kill it off altogether.’
– Luis Bunuel

Viridiana is a film about an angelic, young, compassionate and pious nun abstained herself from all worldly pleasure when nature had planned another scheme for her. In her all attempts to be ethically true Christian she got more and more blows from those men whom she tried to help with utmost selfless noble intentions. First it was her uncle, a bunch of poor beggars and vagabonds of the street and last her own cousin. The satirical contrast aimed at society is striking one. Perhaps Bunuel wanted to convey us that the religious man no longer able to change the human condition with morality when the society is selfish and corrupt one.

Luis Bunuel was more auteur than director and his signature symbolic- surreal touch reflects throughout the film- a girl skipping a rope with changing positions of her legs contrasted with a suicide attempt by the rope, a dog tied to a cart followed with a leper tied with can, uncle trying his niece’s high heels. Camera remained focusing on legs of characters with some classic mise-en-scenes where rope and crown of throne seeks as much attention as significant character. But the best part lies in showing dark play of intoxicated bunch letting their madness runs frenzy in house. They were all non professional actors made you feel the real chaos of lost human souls.

One has to watch the reflections of minute behavior and gestures of Bunuel characters to comprehend fully the unknown subconscious. He showed us the mirror of repressed sexuality and aggression of pervert human behavior left in the dark chambers of our psyche which we don’t want to face since it disturbs our conscience. Though the more ambiguous ending in director’s cut version was changed with censor interruption compared to now available film; it’s nevertheless fine example of open ending. Silvia Pinal is angelic both in look and her character and will remain in memory for long time.

Though the film hailed as great film winning Palm d’ Or at Cannes, Spain banned the film and Vatican church denounced the film for the revolutionary depiction of Christianity.

Bunuel’s Masterpiece and classic of Spanish cinema.

Ratings-10/10

RAAVAN (2010)

Few months ago I read an interview of Naseerudin Shah in a daily. The interviewer asked him a question about today’s state of Indian films. Naseer responded back quite disappointedly that with advancing technology and prolific role played by media, the producers-directors easily garnered the publicity hype and sell the well packaged material to the audience earning expected profit. Creativity only lies in making frames glamorous, stuffed it well with audience friendly emotional drama and promotes it well globally; yes we are good in wrapping but not in content.

Maniratnam’s much hyped modern take on Ramayana reminds me Naseer’s words. As an admirer of Maniratnam I was expecting from this film and he’s the director who gave few brilliant films to Indian cinema like ‘Nayakan’, “Iruvar’, ‘Roja’, ‘Yuva’. Its noble intention to revisit our epic in modern context but when makers like him fails terribly with poor screenplay, shallow presentation, poor characterization and shoddy direction the epic becomes caricaturized and loud product.

The first half of the film is so irritatingly directionless, monotonous and lifeless in everything (except Santosh Sivan’s DOP) that I hate to see the second half in the interval. Mani shifted the gear in the second half and attempted honestly to make it gritty and reasonable one with few ingredients of action, twist and turn and wins the character and audience’s sympathy for the antagonist. Looking at the performances both Aishwarya and Vikram seems so flat wearing typified expressions. Aishwarya has done nothing except shouting and frowning and she didn’t look appealing too. Where’s Mani’s touch that directed her in ‘Iruvar’ and ‘Guru’? Hope Vikram has done fairly well Tamil edition as antagonist but here he’s less than average. Govinda and Ravikishan have stuffed more footage than entertaining the audience. Priyamani is quite impressive in her few minutes presence. It’s only and only Abhishek who worked hard to uplift the film and seems impressive among all cast. Don’t expect different expressions but watch his intensity and dedication to retain the character in couple of well acted scenes and I mean it that he’s the sole reason to watch this film even though having many shortcomings. He saved the grace of Maniratnam as Maniratnam saved his in ‘Yuva’.

Technically the film is rich with Santosh Sivan’s camerawork as always filming some great landscape locations and Shyam Kaushal’s brilliantly choreographed stunt on the bridge 2000 feet above (one of the best I’ve ever seen in Hindi cinema!)

The opinion is mixed; the film entertains in bits and pieces but disappoints as a whole product.

Ratings-6/10

[REC] (Spanish) (2007)

Compared to Hollywood’s zombie films loaded with makeup and special effects, this is classic example of lower budget higher execution of intriguing horror that scare you more intensely. Shot completely from handheld camera like ‘Blair Witch Project’ and recent ‘Paranormal Activity’, it’s another brilliantly made horror where shaky camera becomes the auteur of the film. The plot is like watching an episode of mini TV series for an hour- A young reporter with her cameraman visits a local fire station where an alarming call leads the crew to a situation fixed in an apartment. More than the plot, its treatment of concept full of chaos and claustrophobia rules in the film to give you edge on the seat unpredictable experience. Few scenes and sound are really nerve biting ones.

One of the finest horror of the decade; must watch for scary movie sucker.

Ratings-8/10

IRUVAR (Tamil) (1997)

The cinema and politics remained parallel in South India; many actor turned politicians used as weapons to gain public popularity later turned into a political success story. Needless to recall names but its proven fact that silver screen is a powerful medium to win the hearts of masses; especially in South India where Tamil superstars regarded as Gods and mesmerize strong mass appeal even than the CM of the state.

The film unfolds the story of two close friends, contradictory in mindsets and ideologies; one a wannabe film actor, another leftist poet-orator driven in the world of politics. Though having separate fields their life shares parallel tracks in personal and public lives. Its true test of friendship when blinded by power one becomes quite selfish towards the other and their mutual goal. Maniratnam brought a film reflecting the life and times of friends and rivals- M G Ramchandran and Karunanidhi and made a film which becomes his master work for many reasons to ponder. The first and front most is casting Mohanlal and Prakashraj and get perhaps best of them. Both won National Awards for it if I’m not mistaking. The film has wide fair side too- Aishwarya in double roles in her debut, Gauthami, Revathi, Tabboo and even Madhu just for a song.

The film is audio-visually stunning piece of art in every technical divisions. From A R Rahman’s fine melodies ranging from semi Carnatic music to fusion to Santosh Sivan’s A grade photography to other departments like production, setting, choreography, dialogues everything is just pitch perfect. Sometimes the director gets everything so perfect and for Maniratnam this is a set paragon. In today’s west aping cinema, it’s quite rare to see the authentic portrayal of Indian women in cinema but Maniratnam is artist…watch every actress he used here so artistically and beautifully whether its Aishwarya (never seems so natural and refreshingly beautiful!!!), Revathi, Taboo Or even Madhu in a single song sequence. They all stunned you without titillating your senses.

All songs filmed so beautifully along with memorable scenes. Few which I love to watch again and again are- meeting of two friends on terrace, Wedding first night scene between Prakashraj and Revathi, Taboo’s entry in Prakashraj’s house and the touchiest soliloquy offered to beloved friend in the end. I just wonder how Mani and Sivan filmed these Indian landmark buildings and natural landscapes such a classy frames! Whether its Taj or Thirumalai Naicker Palace of Madurai which I visited so recently. In the film it works as an abstract character; a silent witness from the beginning to end of friendship journey.

Rahman’s score for this film clearly goes to his best works including two refine melodies ‘Pookodiyin Punnakai’ and ‘Narumukaiya’ are locked in his top ten compositions. As soon as the film ends the next thing I’ve done is downloading the album. Listen above said two compositions repeatedly on my ipod with closed eyes without understanding anything and felt goose bumps. Isn’t it a power of tune? What a soothing score! Here lies a true genius.

For number of reasons it’s undoubtedly Maniratnam’s finest one…not to miss on all accounts.

Ratings-10/10

GUNA (Tamil) (1991)

The fine sentimental drama and stepping stone of Kamal Haasan’s career as a brilliant actor. From the very initial scene Kamal absorbs us in the character of a man named Guna; people call him mentally instable but he’s exceptionally good man at heart living in a selfish world. He has only one aim of life- to get marry with his imaginary beloved Abirami on a full moon night. Watch him in the beginning scene where he’s encircling in a room and showing his inner frenzy of thoughts about Abirami to Doctor and it made us so eager to know about her role in his life or the ending part where he’s holding her dead body and yelling like neurotic. It’s an absolutely brilliant method act by this inimitable jewel of South India; which won him another Award for Best Actor so deservingly. Though he played an obsessive lover there’s shades of some lighter moments too.

There are certain things quite improbable and filmy but it’s well conceived story and direction by Santhana Bharathi and indeed a fine emotional drama that push the film forward progressively with natural acts of most of the cast. The film has fine supporting act by Roshni, Rekha, Girish Karnad, Janagaraaj and SP Balasubramaniam. Maestro Illaiyaraja’s has given a fine score in all tracks including a wonderful lullaby. He is matchless in all his lullaby compositions; the melody is impeccable in tune itself!

Compulsory watch for any Kamal Haasan fan.

Ratings-8/10

SPELLBOUND (1945)

Sigmund Freud’s ‘Question on Lay Analysis’ is wonderful starter for any lay man to know the basics of Psycho Analysis. Freud carried the whole essay’s theory in a very interesting manner in a lively conversation between a lay patient and a psycho analyst (himself) and having read that just few months ago I must say that Hitchcock’s ‘Spellbound’ is inspired quite heavily from the focal points depicted in the essay in this film. Psychoanalysis and reading minds remained directly and indirectly the main theme throughout this film.

Hitchcock highlighted the subconscious in the major part, subordinating the routine mystery-suspense element and that’s the reason why its lesser favorite one compared to his other master works. Though one can watch it for sheer chemistry between wonderful Ingrid Bergman and Gregory Peck. Ingrid looks so angelic and plays a character of skeptical and rational psychiatrist here; one of the intelligent female characters in Hitchcock film and Peck is delusional amnesiac patient pretending as Dr Edwards. Another highlight of the film is the surreal dream sequence designed by Salvador Dali.

Watch it if you’re interested in subconscious drama and romance better than usual Hitchcockian mystery.

Ratings-7/10

THE LOST WEEKEND (1945)

“It was after this picture that people started taking me seriously.” – Billy Wilder

If you are hooked to liquor or smoking or any other form of addiction, than this is absolutely the film for you. Grim degradation of alcoholism is never so absorbing and painful to watch as Wilder’s this classic. Evan after sixty years of its making it still seems fresh and original in its execution.

In the opening shot of this classic we witness the desperation of booze addicted protagonist. Don Birnam is a self proclaimed Hemingway but a failed writer and loser turned into a pathetic hopeless alcoholic. ‘I am not a drinker…I am drunk’, he said to his beloved. His caring brother and a lover failed in their all trials and testimony to abstain him from liquor. Billy Wilder showed us the personal world of compulsive alcoholic with great detailing and Ray Milland enacted his part so subjectively and meticulously that we feel the drama from his point of view. He steals, cheats, lies, exploits, ignores and even begs anything and anyone for the sack of his bottle. Undoubtedly his most intense act of lifetime winning him Oscar. Wilder and Milland showed us successfully an inanimate antagonist in the form of liquor. As unconditional and supportive lover Jane Wyman is like a sweet angel for the lost man.

Watch the shadow of bottle hidden on chandelier or the climax where the hidden gun in washbasin reflecting in the mirror. B&W camerawork rightly creates the mood of tragedy and also juxtaposed both neorealist and noirish frames. Its one of the most intense and powerful tragedy by Wilder like his later classic ‘Sunset Boulevard’ but it didn’t end as poignantly quite surprisingly. The film not only bagged four significant trophies only at Oscar including best film, best director and best actor but also won Grand Prize at the Cannes Film Festival.

Must watch for any classic lover.

Ratings- 10/10

RAAJNEETI (2010)

Another lackadaisical and lackluster affair of this year’s another keenly awaited film and this time it comes from a director who gave us compelling political films like ‘Gangaajal’ and ‘Apharan’. A good director doesn’t need huge star cast as pillars but requires strength in script and this is what seriously lacking in the film. Completely against its title, it seems more like a personal vendetta film of a political family. Where’s the room for wicked conspiracy, political tactics and bitter reality seen from insider’s eye like his earlier films??? Prakash Jha has made a ‘desi ragda’ with squash of ‘The Godfather’ plus ‘Mahabharata’ and there’s nothing new or creative what we expect from a maker like him. This time he left creativity on the shoulders of his cast and went too commercial and so lost his grip and touch.

Amid all cast only Nana Patekar, Manoj Bajpayee and Devgan impressed me, the rest is utter wastage. The flaw not lies in their acting capabilities but in characterization which is too flat and single dimensional. Can’t Bajpayee be more cunning and tactical than this? Can’t Ajay has some more flashes of his act than remaining the shadow of his master? I hate Ranbeer and Katrina Kaif track…it’s the biggest headache to tolerate in entire film. It’s this plot which seems stuffed one and off the hook hindrance in the film, public is laughing it loud when Katrina is shuffling between two brothers. She’s the weakest link of the film. Ranbir is so dead pan and Jha has made him the lead cast! Carrying flat expressions of serious attitude on face doesn’t make anybody Michael Corleone!!! Whether Jha accept it or not but he has used Katrina to portray Sonia and still she’s the weakest women character ever portrayed by Jha in his career. Is it the same Jha who showed us makeup less Madhuri Dixit acted brilliantly in ‘Mrityadand’. And what a great waste of towering actor like Naseerudin Shah!!!

Sparks of acting is here and there in Bajpayee (after long time!), Patekar, Devgan and to certain extent Rampal too but I missed the direction which is far more lucrative reason for me to watch this film. Somewhere I read that killing many of the characters to end their parts is the sign of weak direction and Jha has severely butchered many characters here like routine bollywood vengeance film.

Average and too predictable cinema falling on many expectations.

Ratings- 5.5/10

UNNAIPOL ORUVAN (Tamil) (2009)

It’s an apt title for this Tamil adaptation of ‘A Wednesday’. Starring two giants of South Indian cinema, Kamal Haasan and Mohanlal in the lead characters of Naseer and Anupam kher respectively. It’s needless to comment as both of them are indeed great actors. Kamal is briliant here but as far as intensity of act is concerned in the climactic speech Naseer in the original version is just matchless one. Mohanlal is excellent and quite better than Kher. Neeraj Pandey’s original screenplay is just perfect one and so compared to original, the director here hasn’t changed anything except few polished technicalities on the execution part with refined cinematography.

Ratings- 7.5/10