[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