Directed by: Aamir Khan
Starring: Darsheel Safary, Aamir Khan
Ishaan Awasthi keeps getting into trouble all the time; with teachers, with neighbours, with parents… Little do they know that Ishaan is suffering from dyslexia. He is sent to a boarding school as a punishment. But there, he meets Ram, his drawing teacher, who recognizes his problem and helps him overcome it.
Words cannot do justice to the beauty of this film. It’s the directorial debut of Aamir Khan and he has proved himself to be a master story-teller. It is so touching and so real that it made me cry several times. Darshan Safary, who plays Ishaan, is superb. He plays his role with a lot of maturity, never acting precocious like most kids in Hindi film do. The fact that Aamir has let him carry the first half completely on his shoulders is proof enough of his talent.
Taare Zameen Par is a film that needs to be watched not only because it is a story very well told but also for the message that it gives out (without being preachy, condescending or too verbose): Every child is special.
Tuesday, December 25, 2007
Le Péril Jeune (Good old daze)
Directed by : Cédric Klapisch
Starring : Romain Duris, Vincent Elbaz, etc.
This film was actually made for a TV channel called Arte by the youth-oriented films specialist Cedric Klapisch. This is also the debut film of Romain Duris, one of the top actors of French cinema today.
The film begins with four old friends sitting in a hospital lobby waiting for the birth of their friend Tomasi’s child. Tomasi is dead from a drug overdose. The friends reminisce about the good old days at ‘lycée’ (the French equivalent of high school I guess) – the girls, the secret crushes, professors and finally, drugs.
Duris, who plays Tomasi, in his very first role, reveals himself to be a natural. In fact, the whole film is so realistic that it brings back the bittersweet memories of our school days.
The film is funny and poignant at the same time. The language, which is predominantly colloquial, was a little difficult to understand. But all in all, a very enjoyable film.
Starring : Romain Duris, Vincent Elbaz, etc.
This film was actually made for a TV channel called Arte by the youth-oriented films specialist Cedric Klapisch. This is also the debut film of Romain Duris, one of the top actors of French cinema today.
The film begins with four old friends sitting in a hospital lobby waiting for the birth of their friend Tomasi’s child. Tomasi is dead from a drug overdose. The friends reminisce about the good old days at ‘lycée’ (the French equivalent of high school I guess) – the girls, the secret crushes, professors and finally, drugs.
Duris, who plays Tomasi, in his very first role, reveals himself to be a natural. In fact, the whole film is so realistic that it brings back the bittersweet memories of our school days.
The film is funny and poignant at the same time. The language, which is predominantly colloquial, was a little difficult to understand. But all in all, a very enjoyable film.
Monday, December 17, 2007
Hiroshima Mon Amour
Director: Alain Resnais
Starring: Emmanuelle Riva, Eiji Okada
A beautiful black and white film considered to be in the league of Citizen Kane. It is a love story set against the backdrop of the Hiroshima atomic bomb blasts.
“Hiroshima Mon Amour” is the story of an actress who comes to Hiroshima to shoot a film about peace. There she spends the night with a Japanese man and begins to fall for him. Since both of them are married and live on different continents their love story is destined to fail. It reminds her of her tragic and devastating affair with a German soldier during the occupation of France.
Marguerite Duras, who has written the script, skilfully links the story of the actress with that of Hiroshima. The heroine haunted by her tragic past shall learn to let go of it in the city which was burned to ashes but still moved on.
This film is considered to be one of the first modern films. As one might guess, it is not easy to follow. The documentary that is given as a bonus on the DVD is of great help in understanding the undercurrents of the film and analysing it.
A thought-provoking film, serious but worth watching.
Starring: Emmanuelle Riva, Eiji Okada
A beautiful black and white film considered to be in the league of Citizen Kane. It is a love story set against the backdrop of the Hiroshima atomic bomb blasts.
“Hiroshima Mon Amour” is the story of an actress who comes to Hiroshima to shoot a film about peace. There she spends the night with a Japanese man and begins to fall for him. Since both of them are married and live on different continents their love story is destined to fail. It reminds her of her tragic and devastating affair with a German soldier during the occupation of France.
Marguerite Duras, who has written the script, skilfully links the story of the actress with that of Hiroshima. The heroine haunted by her tragic past shall learn to let go of it in the city which was burned to ashes but still moved on.
This film is considered to be one of the first modern films. As one might guess, it is not easy to follow. The documentary that is given as a bonus on the DVD is of great help in understanding the undercurrents of the film and analysing it.
A thought-provoking film, serious but worth watching.
Wednesday, December 12, 2007
Les Enfants du Paradis (French)
Director : Marcel Carné
Written by : Jacques Prévert
Starring : Arletty, Jean-Louis Barrault, Pierre Brasseur, Pierre Renoir
I came across this film, considered to be the best French films ever made, in the Alliance Française library. Often, I cannot appreciate black and white films due to the theatrical acting prevalent in those days. But since this film is presented as a play (it is shown in two acts/parts and the curtain rises and falls at the beginning and the end), I quite enjoyed it this time. My only disappointment was the actress who played the central character: she looked a little too old for her role, was too passive throughout and did not look as beautiful and enchanting as she ought to have.
The film is about Garance, a small-time actress and a courtesan, and the four men who fall in love with her – Lacenaire, a criminal, Baptiste, a mime-artist, Edouard de Montray, an aristocrat and Frédéric Lemaitre, an actor. Each of them loves Garance in their own way and this forms the crux of the film. Baptiste’s love for Garance is pure and sublime, but he expects a similar affection from her. Frédéric is a Casanova. But his love for Garance (which seems frivolous in the first part) leads him to experience ‘jealousy’, an emotion he had never known before. Lacenaire prides himself on his cold heartedness, but his love for Garance makes him commit a grave crime. De Montray tries to buy Garance’s love with expensive gifts. She does become his mistress but never reciprocates his love. Garance on the other hand runs away from each of these men when she finds her freedom encroached upon. At the end however, she finds her true love but circumstances force her to run away from him again.
The beauty of the film lies in its well-defined characters and the light that it throws upon human nature. As for its name “Les enfants du paradis” can be translated as “The children of the Gods”. The Gods refers to the gallery where the working-class people sat in a theatre. They were the ones who freely appreciated the actors’ performances. It should be noted that all the characters in the film belong to the working class (except, of course De Montray).
The film was made during the German occupation of France. The lead actress Arletty had an affair with a German soldier at the time and was thus banned from acting in films later. An interesting view is that Garance represents the France under Vichy (occupied France). Lacenaire, the anti-hero/hero, represents those French who joined the Resistance movement and wanted to free France at all cost (Hence the murder at the end). Baptiste represents the French who loved their nation but could not, or did not strive to free her (hence his inability to express his love for her).
Personally, I quite enjoyed the film. For those who love classics, here is one which is hailed as the French ‘Gone with the wind’!
Written by : Jacques Prévert
Starring : Arletty, Jean-Louis Barrault, Pierre Brasseur, Pierre Renoir
I came across this film, considered to be the best French films ever made, in the Alliance Française library. Often, I cannot appreciate black and white films due to the theatrical acting prevalent in those days. But since this film is presented as a play (it is shown in two acts/parts and the curtain rises and falls at the beginning and the end), I quite enjoyed it this time. My only disappointment was the actress who played the central character: she looked a little too old for her role, was too passive throughout and did not look as beautiful and enchanting as she ought to have.
The film is about Garance, a small-time actress and a courtesan, and the four men who fall in love with her – Lacenaire, a criminal, Baptiste, a mime-artist, Edouard de Montray, an aristocrat and Frédéric Lemaitre, an actor. Each of them loves Garance in their own way and this forms the crux of the film. Baptiste’s love for Garance is pure and sublime, but he expects a similar affection from her. Frédéric is a Casanova. But his love for Garance (which seems frivolous in the first part) leads him to experience ‘jealousy’, an emotion he had never known before. Lacenaire prides himself on his cold heartedness, but his love for Garance makes him commit a grave crime. De Montray tries to buy Garance’s love with expensive gifts. She does become his mistress but never reciprocates his love. Garance on the other hand runs away from each of these men when she finds her freedom encroached upon. At the end however, she finds her true love but circumstances force her to run away from him again.
The beauty of the film lies in its well-defined characters and the light that it throws upon human nature. As for its name “Les enfants du paradis” can be translated as “The children of the Gods”. The Gods refers to the gallery where the working-class people sat in a theatre. They were the ones who freely appreciated the actors’ performances. It should be noted that all the characters in the film belong to the working class (except, of course De Montray).
The film was made during the German occupation of France. The lead actress Arletty had an affair with a German soldier at the time and was thus banned from acting in films later. An interesting view is that Garance represents the France under Vichy (occupied France). Lacenaire, the anti-hero/hero, represents those French who joined the Resistance movement and wanted to free France at all cost (Hence the murder at the end). Baptiste represents the French who loved their nation but could not, or did not strive to free her (hence his inability to express his love for her).
Personally, I quite enjoyed the film. For those who love classics, here is one which is hailed as the French ‘Gone with the wind’!
Sunday, December 9, 2007
Aja Nach Le
Starring: Madhuri Dixit, Kunal Kapoor, Konkona Sen, etc. etc.
The film is really not as bad as the reviews said. It's about a dancer (Madhuri Dixit) who returns after several years to her vilage to save the dance school from being mowed down. Madhuri is good as usual. Konkona Sen and Kunal Kapoor:) are loveable. The songs should have been better since this is almost a musical. I liked the choreography too, even though it was trashed in the reviews.
Overall, a good timepass film.
The film is really not as bad as the reviews said. It's about a dancer (Madhuri Dixit) who returns after several years to her vilage to save the dance school from being mowed down. Madhuri is good as usual. Konkona Sen and Kunal Kapoor:) are loveable. The songs should have been better since this is almost a musical. I liked the choreography too, even though it was trashed in the reviews.
Overall, a good timepass film.
Wednesday, November 28, 2007
Some other films I saw...
A Mighty Heart - Starring: Angelina Joli; Director: Michael Winterbottom. A beautifully made film, almost like a documentary. Will appeal only to those who like serious cinema.
Subway - Starring: Christophe Lambert, Isabelle Adjani; Director: Luc Besson. Quite dissappointing. And sigh! Jean Reno has only a tiny role.
Jab we met - Starring: Kareena Kapoor, Shahi Kapoor; Director: I forget who. A nice, likeable film. A typical Bollywood fare but still refreshing.
Crimson Rivers (Rivières Pourpres) - Starring: Jean Reno, Vincent Cassel. Director: Matthieu Kassovitz. Star Movies showed the dubbed version which I absolutely hate. A wierd film, not easy to follow. Did not care much for it.
The Pink Panther - Starring: Steve Martin, Jean Reno, Beyonce, Emily Mortimer. Director: God knows who. Full of slapstick and cheap jokes (farting, etc.) Steve Martin speaks in a bizarre French accent. As do all the other characters except dear old Jean, as he is actually French... The dance sequence is, to say the least, disgusting. (Jean, you didn't have to do that!)
The Devil wears Prada - Starring: Anne Hathway, Meryl Streep. Director: Dunno. Not bad at all, though Hathway is insipid and gives an uninspired performance. Meryl Streep, on the other hand, is simply outstanding. Wish she had more time onscreen. Haven't read the book so can't say if the movie is loyal to it.
Subway - Starring: Christophe Lambert, Isabelle Adjani; Director: Luc Besson. Quite dissappointing. And sigh! Jean Reno has only a tiny role.
Jab we met - Starring: Kareena Kapoor, Shahi Kapoor; Director: I forget who. A nice, likeable film. A typical Bollywood fare but still refreshing.
Crimson Rivers (Rivières Pourpres) - Starring: Jean Reno, Vincent Cassel. Director: Matthieu Kassovitz. Star Movies showed the dubbed version which I absolutely hate. A wierd film, not easy to follow. Did not care much for it.
The Pink Panther - Starring: Steve Martin, Jean Reno, Beyonce, Emily Mortimer. Director: God knows who. Full of slapstick and cheap jokes (farting, etc.) Steve Martin speaks in a bizarre French accent. As do all the other characters except dear old Jean, as he is actually French... The dance sequence is, to say the least, disgusting. (Jean, you didn't have to do that!)
The Devil wears Prada - Starring: Anne Hathway, Meryl Streep. Director: Dunno. Not bad at all, though Hathway is insipid and gives an uninspired performance. Meryl Streep, on the other hand, is simply outstanding. Wish she had more time onscreen. Haven't read the book so can't say if the movie is loyal to it.
The Kite Runner
Author: Khaled Hosseini
About the author: Born in Afghanistan, received political asylum in the U.S.A. in 1980, doctor by profession. This is his first book.
It’s not very often that you come across a book like this. A book that can keep you riveted throughout. A book that touches your heart deeply; that stays, long after you have finished it. Khaled Hosseini’s “The Kite Runner” is at times like a song: gentle and nostalgic, bringing back memories of childhood, sometimes insouciant and sometimes cruel. At times it is like a vividly coloured photograph: the streets of Kabul come alive before your eyes, kites fight each other for dominance and kebab shops line the bustling streets. At times it is heartbreakingly close to reality: the war-ravaged, Taliban-infested Afghanistan; a man selling his artificial leg; an execution held on a football field during the half-time.
This story of damnation and redemption is told through the eyes of Amir. Amir longs for the love and affection of his somewhat indifferent father, who he admires and fears the most. He believes that the indifference stems from the fact that Amir’s mother died giving birth to him. Furthermore, he thinks himself to be a failure in his father’s eyes, a wimp and a coward.
However, his father seems to have a special affection for Hussain, their servant’s son. Hussain is strong and courageous, protecting Amir and loving him with unflinching loyalty.
But one day, to gain his father’s love and admiration, Amir selfishly and cowardly betrays Hussain, thus condemning himself to a life full of lies and regrets. It is only after several years that Amir gets the opportunity to redeem himself. And so he sets off on a dangerous journey to Afghanistan, a journey that will liberate him from his demons and make a man out of him.
Though the novel is engaging throughout, I was particularly moved by the part about their childhood. Hosseini describes the unusual relationship between Amir and Hussain with brutal honesty. Amir loves Hussain as a friend (even as a brother) but cannot ignore the fact that Hussain is a servant, a Hazara, a Shia while he, is the master, a Pashtun and a Sunni. Children can be cruel and so Amir continually tests Hussain’s loyalty (“Would you eat dirt if I asked you to?”), makes fun of his illiteracy and makes him party to his pranks. Hussain, pure of heart and blessed with an ability to understand people, never protests. His self-sacrificing and unconditional love is heartrending. For you, a thousand times, he says to Amir. A phrase that torments Amir for life and echoes throughout the book. A phrase that brings the story of Amir and Hussain a full circle.
This is Khaled Hosseini’s first book. A brilliant raconteur, he is someone to reckon with. His second book, A Thousand Splendid Suns is already a best-seller. His style of writing is very visual (as I said earlier, like a photograph) and so I think it could make a great film.
This book is special for another reason too. It talks of a country which is in news all the time but of which we know little. It talks of Afghanistan, its long-suffering but proud people and its once beautiful cities razed to the ground.
Khaled Hosseini’s “The Kite Runner” is a must read. Finally, here is one book that really deserves its ‘best-seller’ status.
About the author: Born in Afghanistan, received political asylum in the U.S.A. in 1980, doctor by profession. This is his first book.
It’s not very often that you come across a book like this. A book that can keep you riveted throughout. A book that touches your heart deeply; that stays, long after you have finished it. Khaled Hosseini’s “The Kite Runner” is at times like a song: gentle and nostalgic, bringing back memories of childhood, sometimes insouciant and sometimes cruel. At times it is like a vividly coloured photograph: the streets of Kabul come alive before your eyes, kites fight each other for dominance and kebab shops line the bustling streets. At times it is heartbreakingly close to reality: the war-ravaged, Taliban-infested Afghanistan; a man selling his artificial leg; an execution held on a football field during the half-time.
This story of damnation and redemption is told through the eyes of Amir. Amir longs for the love and affection of his somewhat indifferent father, who he admires and fears the most. He believes that the indifference stems from the fact that Amir’s mother died giving birth to him. Furthermore, he thinks himself to be a failure in his father’s eyes, a wimp and a coward.
However, his father seems to have a special affection for Hussain, their servant’s son. Hussain is strong and courageous, protecting Amir and loving him with unflinching loyalty.
But one day, to gain his father’s love and admiration, Amir selfishly and cowardly betrays Hussain, thus condemning himself to a life full of lies and regrets. It is only after several years that Amir gets the opportunity to redeem himself. And so he sets off on a dangerous journey to Afghanistan, a journey that will liberate him from his demons and make a man out of him.
Though the novel is engaging throughout, I was particularly moved by the part about their childhood. Hosseini describes the unusual relationship between Amir and Hussain with brutal honesty. Amir loves Hussain as a friend (even as a brother) but cannot ignore the fact that Hussain is a servant, a Hazara, a Shia while he, is the master, a Pashtun and a Sunni. Children can be cruel and so Amir continually tests Hussain’s loyalty (“Would you eat dirt if I asked you to?”), makes fun of his illiteracy and makes him party to his pranks. Hussain, pure of heart and blessed with an ability to understand people, never protests. His self-sacrificing and unconditional love is heartrending. For you, a thousand times, he says to Amir. A phrase that torments Amir for life and echoes throughout the book. A phrase that brings the story of Amir and Hussain a full circle.
This is Khaled Hosseini’s first book. A brilliant raconteur, he is someone to reckon with. His second book, A Thousand Splendid Suns is already a best-seller. His style of writing is very visual (as I said earlier, like a photograph) and so I think it could make a great film.
This book is special for another reason too. It talks of a country which is in news all the time but of which we know little. It talks of Afghanistan, its long-suffering but proud people and its once beautiful cities razed to the ground.
Khaled Hosseini’s “The Kite Runner” is a must read. Finally, here is one book that really deserves its ‘best-seller’ status.
Friday, November 2, 2007
The Big Blue
30.10.2007 The Big Blue “Director’s Cut” (English)
Director: Luc Besson
Starring: Jean-Marc Barr, Jean Reno, Rosanna Arquette
Jacques Mayol (a very handsome Jean-Marc Barr) and Enzo Molinari (The Jean Reno) are childhood friends. They are both free-divers, but their motivations are completely different. Jacques loves the sea. Dolphins are his friends, his family. Enzo, on the other hand, thrives on competition. His aim is to be unbeatable. The Big Blue is the story of their friendship and ultimately their tragic deaths. Enzo dies attempting to break Jacques’ record and Jacques’ love for the sea and the dolphins kills him in a fit of delusion.
The film was probably the first to attempt underwater filming and so we get some breathtaking shots of the ocean and the life beneath. It is through this film that I was introduced to free-diving, a sport that needs enormous endurance and courage. We actually get the feeling of descending into the ocean with the free-divers and as they go deeper and deeper one can sense the claustrophobia, the darkness (“where sky is only a memory”, says Jacques)
The story is not run-of-the-mill and the characters are well-etched out. Jacques Mayol is introverted and soft-spoken. He is the happiest when he is in the sea with the dolphins. Yet, he is sad from within, because he does not have a real family. (“What kind of a man has such a family?” he asks Johanna, his love interest, showing her a picture of dolphin in his wallet. And then he cries) On the contrary, Enzo is the quintessential Italian - loud and aggressive. (“Which planet are you from?” Johanna asks him. “Italia” he replies) He has a close-knit family complete with an overbearing mother and a brother who is always at his sides. He is arrogant and often patronising and will go to any limit to establish his superiority. The actors get into the skin of their characters. Barr has a child-like innocence which makes his Mayol believable. Rosanna Arquette as Johanna is alright, only she should have washed and brushed her hair more often. Jean Reno gets the best lines of the movie and he delivers them with such élan that one is floored. He is funny, he is loveable and he kicks ass.
The Big Blue - A must-see for all those who love the sea and the dolphins...
Director: Luc Besson
Starring: Jean-Marc Barr, Jean Reno, Rosanna Arquette
Jacques Mayol (a very handsome Jean-Marc Barr) and Enzo Molinari (The Jean Reno) are childhood friends. They are both free-divers, but their motivations are completely different. Jacques loves the sea. Dolphins are his friends, his family. Enzo, on the other hand, thrives on competition. His aim is to be unbeatable. The Big Blue is the story of their friendship and ultimately their tragic deaths. Enzo dies attempting to break Jacques’ record and Jacques’ love for the sea and the dolphins kills him in a fit of delusion.
The film was probably the first to attempt underwater filming and so we get some breathtaking shots of the ocean and the life beneath. It is through this film that I was introduced to free-diving, a sport that needs enormous endurance and courage. We actually get the feeling of descending into the ocean with the free-divers and as they go deeper and deeper one can sense the claustrophobia, the darkness (“where sky is only a memory”, says Jacques)
The story is not run-of-the-mill and the characters are well-etched out. Jacques Mayol is introverted and soft-spoken. He is the happiest when he is in the sea with the dolphins. Yet, he is sad from within, because he does not have a real family. (“What kind of a man has such a family?” he asks Johanna, his love interest, showing her a picture of dolphin in his wallet. And then he cries) On the contrary, Enzo is the quintessential Italian - loud and aggressive. (“Which planet are you from?” Johanna asks him. “Italia” he replies) He has a close-knit family complete with an overbearing mother and a brother who is always at his sides. He is arrogant and often patronising and will go to any limit to establish his superiority. The actors get into the skin of their characters. Barr has a child-like innocence which makes his Mayol believable. Rosanna Arquette as Johanna is alright, only she should have washed and brushed her hair more often. Jean Reno gets the best lines of the movie and he delivers them with such élan that one is floored. He is funny, he is loveable and he kicks ass.
The Big Blue - A must-see for all those who love the sea and the dolphins...
Wasabi
28.10.2007 Wasabi (French)
Director: Gerard Krawczyk
Starring: Jean Reno, Ryoko Hirosue, Michel Muller
Hubert Fiorentini (Jean Reno) is a badass cop. After having unknowingly injured a politician’s son, he is forced to go on a vacation. He learns that the only love of his life, who left him nineteen years ago, has died in Japan leaving him as the sole legatee. So off he goes to Tokyo, only to discover that among other things, his love has left him a nineteen year daughter Yumi (Ryoko Hirosue). Hubert is supposed to look after the hot-headed, spendthrift girl for two days, until she attains majority. Things get more complicated as he realises that Miko, Yumi’s mother, has not died a natural death and that now the mafia are after Yumi for the large fortune her mother has left her with.
It’s one of those films that you need to watch keeping logic and reason aside. I mean, how come all the Japanese, right from the policemen to bankers, peak fluent French? Why do mafia guys follow Hubert and Yumi dressed conspicuously in black suits and sunglasses? How can one middle-aged guy fight off a dozen armed men with nothing but a golf rod and two balls? Well, after a moment I just stopped asking questions…
But this film is nonetheless very enjoyable. Though Jean Reno is type-cast again as the badass cop with a heart of gold, we get to see his paternal side, which is very endearing. From the dry and solitary policeman to the father who’ll risk his life for his daughter, his portrayal is exceedingly good. (I know am going OTT, but what to do, I like that guy) And then there are those funny action sequences, especially the one in the mall, where Reno beats up all the mafia guys without Yumi finding out.
Ryoko Hirosue is irritating at first but you end up liking her eventually. She speaks French with a charming Japanese accent. Michel Muller is the humorous sidekick. He’s done a great job.
Wasabi isn’t one of the best comedies I’ve seen. But nevertheless, it’s good for a one-time watch.
Director: Gerard Krawczyk
Starring: Jean Reno, Ryoko Hirosue, Michel Muller
Hubert Fiorentini (Jean Reno) is a badass cop. After having unknowingly injured a politician’s son, he is forced to go on a vacation. He learns that the only love of his life, who left him nineteen years ago, has died in Japan leaving him as the sole legatee. So off he goes to Tokyo, only to discover that among other things, his love has left him a nineteen year daughter Yumi (Ryoko Hirosue). Hubert is supposed to look after the hot-headed, spendthrift girl for two days, until she attains majority. Things get more complicated as he realises that Miko, Yumi’s mother, has not died a natural death and that now the mafia are after Yumi for the large fortune her mother has left her with.
It’s one of those films that you need to watch keeping logic and reason aside. I mean, how come all the Japanese, right from the policemen to bankers, peak fluent French? Why do mafia guys follow Hubert and Yumi dressed conspicuously in black suits and sunglasses? How can one middle-aged guy fight off a dozen armed men with nothing but a golf rod and two balls? Well, after a moment I just stopped asking questions…
But this film is nonetheless very enjoyable. Though Jean Reno is type-cast again as the badass cop with a heart of gold, we get to see his paternal side, which is very endearing. From the dry and solitary policeman to the father who’ll risk his life for his daughter, his portrayal is exceedingly good. (I know am going OTT, but what to do, I like that guy) And then there are those funny action sequences, especially the one in the mall, where Reno beats up all the mafia guys without Yumi finding out.
Ryoko Hirosue is irritating at first but you end up liking her eventually. She speaks French with a charming Japanese accent. Michel Muller is the humorous sidekick. He’s done a great job.
Wasabi isn’t one of the best comedies I’ve seen. But nevertheless, it’s good for a one-time watch.
Tuesday, October 30, 2007
27.10.2007 Leon/The Professional (English)
Director: Luc Besson
Starring: Jean Reno, Natalie Portman, Gary Oldman, Danny Aiello
Jean Reno… Tall, dark and handsome (Not everyone would agree with that though). An excellent actor (Now, no one can contradict that). He’s cool, he’s charming and his voice can send shivers down your spine.
I first saw him in The Da Vinci Code where he played Bezu Fache. A small but impressive role. Next, I saw him in Les Visiteurs trilogy, where he teams up with Christian Clavier, a talented comedian not so well-known outside of France. They make a great pair – the tall, strong and stoic Reno opposite the bumbling buffoon Clavier. The two French films are genuinely funny, a must-watch for anyone who loves good comedy. The American version is a bit of a disappointment though not bad at all. And then one day, I watched the Besson classic Nikita where Reno makes a very short but effective appearance as Victor, the cleaner. And he’s not one of your regular cleaners; instead of a broom he wields a gun!
It was this character that inspired Besson to write Leon (known as The Professional in the US). The movie would eventually gain a cult status, catapulting Besson and Reno to international fame.
Leon (Jean Reno) is a hitman. He lives in Little Italy (he’s an Italian immigrant) and is a loner. His best friend is a potted plant. His only human contact is Tony – his friend, philosopher, guide and bank!
Next door lives a twelve year old girl, Matilda (Natalie Portman). Her dad deals in drugs and her mother is probably a hooker. The only person she cares for is her four year old brother. After drug deal has gone bad, her entire family is wiped out by a psychopath cop Stansfield (Gary Oldman). Matilda survives as she has gone grocery shopping.
On finding her family dead, she persuades Leon to take her in. When she comes to know that Leon is a cleaner, she asks him to teach her to kill. In return she promises to do his chores. At first, he refuses, but gives in eventually.
Meanwhile, a special bond develops between them. Matilda professes her love to Leon which he brushes off to be nothing but adolescent stupidity. This is where the film ventures into some grey areas. Some scenes of the film (including one where the two sleep in the same bed) had to be cut in order to release the film in the US. I got to see the complete version of the film and I didn’t really find the scenes offensive. Firstly, it is perfectly natural for an adolescent to have a little crush on someone much older that him/her. Secondly, the director has taken enough care to ‘infantilise’ Leon - he drinks lots of milk, does not know to read or write and he is so incapable of thinking independently that he relies blindly on Tony. So Leon is basically reduced to an innocent child even though he is a dangerous killer. At the same time, the bond between Leon and Matilda cannot be described to be that of a father and a daughter. Mentally, they both seem to be of the same age. Thirdly, these ‘controversial’ sequences are filmed in a sensitive manner so that at no point I felt uncomfortable. The credit, without doubt, goes to Luc Besson.
Coming back to the story, Matilda, eager to bump off Stansfield, follows him to his office. Her plan fails and instead he kidnaps her. But our knight in shining armour rescues her. Stansfield decides to retaliate and sends in an army of SWATs to kill Leon. Leon manages to save Matilda’s life (and that of his plant) but loses his. He blows himself off along with Stansfield.
Talking of the actors, they are all brilliant. Gary Oldman as the maniacal cop is first-rate. He manages to give you the goose bumps. Danny Aiello, too, is perfect. But the film obviously belongs to Natalie Portman and Jean Reno.
In spite of this being her first shot at acting, Portman is brilliant, playing the role with maturity and confidence. She fits the role of the headstrong and brash Matilda to the T.
The role of Leon made a star out Jean Reno all over the world. He is, to say the least, in his element. The strong, silent type with a big heart is his speciality. And I believe it all started with this film. But Leon is much more complex. He is somewhat autistic. Besson said in an interview that if Jean were to portray Leon as someone intelligent, his relationship with Matilda would immediately seem perverted. So his portrayal of Leon is nothing but superlative.
All in all, Leon/The Professional is a great film. You’ll especially love it if you happen to be a Besson or Jean Reno fan.
Starring: Jean Reno, Natalie Portman, Gary Oldman, Danny Aiello
Jean Reno… Tall, dark and handsome (Not everyone would agree with that though). An excellent actor (Now, no one can contradict that). He’s cool, he’s charming and his voice can send shivers down your spine.
I first saw him in The Da Vinci Code where he played Bezu Fache. A small but impressive role. Next, I saw him in Les Visiteurs trilogy, where he teams up with Christian Clavier, a talented comedian not so well-known outside of France. They make a great pair – the tall, strong and stoic Reno opposite the bumbling buffoon Clavier. The two French films are genuinely funny, a must-watch for anyone who loves good comedy. The American version is a bit of a disappointment though not bad at all. And then one day, I watched the Besson classic Nikita where Reno makes a very short but effective appearance as Victor, the cleaner. And he’s not one of your regular cleaners; instead of a broom he wields a gun!
It was this character that inspired Besson to write Leon (known as The Professional in the US). The movie would eventually gain a cult status, catapulting Besson and Reno to international fame.
Leon (Jean Reno) is a hitman. He lives in Little Italy (he’s an Italian immigrant) and is a loner. His best friend is a potted plant. His only human contact is Tony – his friend, philosopher, guide and bank!
Next door lives a twelve year old girl, Matilda (Natalie Portman). Her dad deals in drugs and her mother is probably a hooker. The only person she cares for is her four year old brother. After drug deal has gone bad, her entire family is wiped out by a psychopath cop Stansfield (Gary Oldman). Matilda survives as she has gone grocery shopping.
On finding her family dead, she persuades Leon to take her in. When she comes to know that Leon is a cleaner, she asks him to teach her to kill. In return she promises to do his chores. At first, he refuses, but gives in eventually.
Meanwhile, a special bond develops between them. Matilda professes her love to Leon which he brushes off to be nothing but adolescent stupidity. This is where the film ventures into some grey areas. Some scenes of the film (including one where the two sleep in the same bed) had to be cut in order to release the film in the US. I got to see the complete version of the film and I didn’t really find the scenes offensive. Firstly, it is perfectly natural for an adolescent to have a little crush on someone much older that him/her. Secondly, the director has taken enough care to ‘infantilise’ Leon - he drinks lots of milk, does not know to read or write and he is so incapable of thinking independently that he relies blindly on Tony. So Leon is basically reduced to an innocent child even though he is a dangerous killer. At the same time, the bond between Leon and Matilda cannot be described to be that of a father and a daughter. Mentally, they both seem to be of the same age. Thirdly, these ‘controversial’ sequences are filmed in a sensitive manner so that at no point I felt uncomfortable. The credit, without doubt, goes to Luc Besson.
Coming back to the story, Matilda, eager to bump off Stansfield, follows him to his office. Her plan fails and instead he kidnaps her. But our knight in shining armour rescues her. Stansfield decides to retaliate and sends in an army of SWATs to kill Leon. Leon manages to save Matilda’s life (and that of his plant) but loses his. He blows himself off along with Stansfield.
Talking of the actors, they are all brilliant. Gary Oldman as the maniacal cop is first-rate. He manages to give you the goose bumps. Danny Aiello, too, is perfect. But the film obviously belongs to Natalie Portman and Jean Reno.
In spite of this being her first shot at acting, Portman is brilliant, playing the role with maturity and confidence. She fits the role of the headstrong and brash Matilda to the T.
The role of Leon made a star out Jean Reno all over the world. He is, to say the least, in his element. The strong, silent type with a big heart is his speciality. And I believe it all started with this film. But Leon is much more complex. He is somewhat autistic. Besson said in an interview that if Jean were to portray Leon as someone intelligent, his relationship with Matilda would immediately seem perverted. So his portrayal of Leon is nothing but superlative.
All in all, Leon/The Professional is a great film. You’ll especially love it if you happen to be a Besson or Jean Reno fan.
Thursday, October 25, 2007
Laaga Chunari Mein Daag
Hindi movies were never well-known for logic but with Laaga Chunari Mein Daag, Pradeep Sorcar takes this equation to the next level. I mean, his ‘twelfth-class-not-passed-salwar-kameez-clad’ heroine progresses from singing “jeb mein hamri duhi rupaiyya” to earning millions as a high-profile escort in a matter of minutes. And even worse, her parents gleefully decorate their home with the money she sends (“aangan mein marble hi lagaana”, she tells them), without smelling a rat.
OK, first things first… To save her parents from penury and an uncle who threatens them with a court case, Vibhawari (or Badki, as they call her) sets off the Mumbai looking for a job. Now being the ambitious girl that she is, she starts looking for jobs in a call centres and government offices. Now remember that she hasn’t even passed the twelfth standard and cannot speak English… And then surprise, surprise, she comes across some big bad wolves and in forced into prostitution. A friend gives her some amazing advice (like how she can make big bucks by becoming a prostitute…err…an escort), some beauty tips and a new name. In the next scene we see the village belle Vibhawari transform into the skimpily-clad Natasha. And then before we can say “What the hell” she is on a plane to Zurich as some rich businessman’s ‘PR Associate’ mouthing some profound dialogues on how patents are used by developed countries to exploit the poor ones. And the devoted audience is nobody else but a very good-looking Abhishek Bachchan, a, ahem, famous patents attorney. Again surprise, surprise, he falls in love with her, because, he later tells her, she was chanting the Hanuman Chalisa. Yeah whatever… So what we get next is a paid for tour of Switzerland. If you haven’t fallen asleep yet, you come to know that Vibhawari’s sister Shubhawari (oh yeah) has come to Mumbai for a job in an advertising agency where she meets and falls in love with the gorgeous Kunal Kapoor. They decide to get married. Now guess who turns up at the wedding? Good old Abhi! He happens to be the groom’s brother. Well, he proposes marriage to Vibhawari who is compelled to refuse. When she tells him the reason for her refusal, he mouths some clichéd dialogues like how he respects her and had known the truth all along. And so they get married and live happily ever after.
So you see, the movie is nothing but all the usual plots mixed and matched to cook up some melodrama. Melodrama is the essence of Hindi movies but when things go OTT it risks being completely ridiculous. And this is precisely the problem with this film.
But to be fair, one must credit the film with some great acting. Rani Mukherjee, Konkana Sen and Jaya Bachchan are very, very good. And though the male cast is not very present they do make their mark felt and look good.
All in all, the movie will appeal only to hard-core Hindi melodrama lovers.
OK, first things first… To save her parents from penury and an uncle who threatens them with a court case, Vibhawari (or Badki, as they call her) sets off the Mumbai looking for a job. Now being the ambitious girl that she is, she starts looking for jobs in a call centres and government offices. Now remember that she hasn’t even passed the twelfth standard and cannot speak English… And then surprise, surprise, she comes across some big bad wolves and in forced into prostitution. A friend gives her some amazing advice (like how she can make big bucks by becoming a prostitute…err…an escort), some beauty tips and a new name. In the next scene we see the village belle Vibhawari transform into the skimpily-clad Natasha. And then before we can say “What the hell” she is on a plane to Zurich as some rich businessman’s ‘PR Associate’ mouthing some profound dialogues on how patents are used by developed countries to exploit the poor ones. And the devoted audience is nobody else but a very good-looking Abhishek Bachchan, a, ahem, famous patents attorney. Again surprise, surprise, he falls in love with her, because, he later tells her, she was chanting the Hanuman Chalisa. Yeah whatever… So what we get next is a paid for tour of Switzerland. If you haven’t fallen asleep yet, you come to know that Vibhawari’s sister Shubhawari (oh yeah) has come to Mumbai for a job in an advertising agency where she meets and falls in love with the gorgeous Kunal Kapoor. They decide to get married. Now guess who turns up at the wedding? Good old Abhi! He happens to be the groom’s brother. Well, he proposes marriage to Vibhawari who is compelled to refuse. When she tells him the reason for her refusal, he mouths some clichéd dialogues like how he respects her and had known the truth all along. And so they get married and live happily ever after.
So you see, the movie is nothing but all the usual plots mixed and matched to cook up some melodrama. Melodrama is the essence of Hindi movies but when things go OTT it risks being completely ridiculous. And this is precisely the problem with this film.
But to be fair, one must credit the film with some great acting. Rani Mukherjee, Konkana Sen and Jaya Bachchan are very, very good. And though the male cast is not very present they do make their mark felt and look good.
All in all, the movie will appeal only to hard-core Hindi melodrama lovers.
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