Small Break And A Long Wait | Editor's Pen

Hi Friends,

TRM is going under another small revamp. It’s necessary for many reasons – to cater good stories to our audience with better look and feel so that entire experience is even more pleasant. I really hope that you all will appreciate some of these changes.

Apart from that… we are getting a little commercial. Now, we believe that most rewarding thing for a writer is readership which is on a higher side in last few months however there is nothing wrong is getting some materialistic gains as well. But that doesn’t mean that we will allow any interruption to the reading experience with pop-up and stuff like that. They are disgrace. We will have links and reccos which will connect you to portals selling relevant products like Movie DVD, Posters. We will ensure that there is no, I repeat, no adverse impact on the reading experience.

One more thing, feel free to connect to us and share our pages. Let us know if you want to join us as writers. We are waiting for your response.

This edition will continue till New Year Eve when will return with… Blue Notebook.

Thanks

Sujoy

Presumed Innocent | The Critique

Harrison Ford, one of the most bankable Hollywood actors, plays the Presumed Innocent in a fine courtroom thriller based on a novel by the same name and  directed by Alan Pakula. Pakula with his no-nonsense and incisive direction and Ford playing a multi-layered are two standout artists of the film. Supported by other cast, Ford brings out a very realistic caricature.

Prosecutor Rusty played by Ford comes to know that his colleague Carolyn has been brutally murdered. The case is assigned to him. Since he had a past with her, he should not follow on the case but this is unknown to others and he decides to play along. However, the truth is revealed and now he is the focal point of the murder trial. He is the accused. His actions are shady and to some extent prosecution has strong circumstantial evidence against him. He hires his rival as defense lawyer Sandy. Against the tide, Rusty and Sandy decide to back themselves.

There is a ‘Have Been There’ feeling and at times the film seems to be weak as far as content is concerned. However, good performances and direction well supported by the technical crew – background score and camerawork. Subplots of Rusty’s relationship with his wife and politics of a law firm at small and high level helps the development of the main story and well creased out climax.

Presumed Innocent is a flash of magic. It’s not perfect. It has flaws. But it works, it works well.

Written By: Sujoy Ghosh

Bollywoodization Of Romeo And Juliet | Under Lens

Recently released Goliyon Ki Raasleela Ram-Leela brought epic romance of Romeo And Juliet back in focus in India. Though the film got hype for all wrong reasons, amongst the critics there was a nod of appreciation for Sanjay Leela Bhansali who came out of his comfort zone and came up with something so un-Bhansalish.

When Qayamat Se Qayamat Tak came, it was not the first film to explore love between children from warring groups. Earlier divides were for different reasons. There was poverty, there was religion and language. Like Bobby, Betaab, Love Story, Ek Duje Ke Liye. All these films had an element or two borrowed from Shakespeare’s most popular work. For example in Betaab, estranged family friends defined the core of opposition. In Ek Duje Ke Liye, language and cultural differences became the barrier. Love Story had an interesting take. Fathers of both girl and boy once loved same woman. Girl’s father though was able to marry her, was never able to digest the fact.  Moreover, there were screen adaptations as well like one made by Akhtar Hussein in 1947 – Romeo And Juliet. QSQT’s success opened up barrage of adaptations. In 90’s we saw many films on similar lines. Most of them hardly added any value.  

Ram-Leela adapted Shakespearean tragedy with gore of warlands in India. Based in a fictional village, Ram-Leela is about two warring communities confronting each other for over five centuries. Film might have disappointed many but it managed to check some points. At no point any character in the film was able to shake the faith these characters had for each other. Even when they were against each other, the burning passion was all over the screen. That was probably the only think that justified lust at first sight between Ram and Leela.

After Romeo And Juliet, its Hamlet time. Will Shahid’s Haider come any close to his father’s Maqbool?

  

Lost Films Lost Heritage Part 2 | Under Lens

Films which are lost might not be discovered ever but the people We continue with our list of lost films with introduction to few more such films:

L'Arroseur (Watering the Flowers): It is said that only 4% of Georges Méliès’ cinema is available. This might be a little exaggeration, but the fact remains that most of his works are lost.  L'Arroseur, made in 1896, is one such film. Based on another classic - L'Arroseur Arrosé – film was appreciated by the audience of the time. Méliès’ influence on global cinema is huge. Martin Scorsese’s Hugo is a beautiful reminder.

Madonna of Avenue A: This silent film lost during the phase of transition is remembered for two major reasons – it was one of last few silent appearances of Dolores Costello, The Goddess of the Silent Screen and it was also first film of Michael Curtiz – the legendary director who made films like Casablanca, Yankee Doodle Dandy, Mildred Pierce and many more.

Farewell Performance: Relatively new film, made in 1963, Farewell Performance had David Kernan in lead role. David, more known That Was the Week That Was show in early sixties, was a known figure in music world of his time. The film, as one would expect, was a murder mystery woven around death of a pop-singer. A deserving BFI 75 Most Wanted.

Ram-Leela | Much Ado About Nothing | Editor's Pen

Hi Friends…

What kind of country we are turning into? What kind of country we aspire to be? Do we want minefields for our future generations? Some people definitely do. They are offended by even non-existent things. SLB @ Ram-Leela for forced to change the title of the film to B-grade sounding title. In fact this entire charade is a  stigma on the country which is respected for its tolerance and freedom of speech.

Today they have a problem with a film titled after God and/or enactment of His life. Tomorrow they will have issue with people keeping names after Godly figures. What if a person named as Ram or Krishna turns out to be a terrorist or corrupt broker? Will people get offended by that? Let me brush memories... remember Delhi Gang Rape... 'Ram Singh' was the driver of that bus. Offended now?

Sanjay Leela Bhansali definitely wanted to get a mileage from the title of the film – that’s what a title should do. However, its silly to think that at any point he intend to hurt emotions of people. But wait, we get offended by non-existent things… right.

Sadly, in this country we are not able to make good films due to this very reason. The country, frankly, doesn’t deserve good and open films. We don’t. The social fabric is shallow and we are happy with walls we created around us. These walls, however are made of up of paper. We are not a failed nation though that day is not very far.

Regards

Sujoy

Shahid | Courage Reinvented | The Critique

When I say ‘Shahid is an important film’, it’s not because it’s an off-beat or alternative cinema. It’s because of the person whose life is brought alive on screen. Hansal Mehta deserves accolades for making a no-nonsense film about a person who realized the importance of human life the hard way. His impact might have affected only a few families, it’s a little piece of hope for entire humanity.

Shahis is story of Shahid Azmi, a lawyer who fought for people wrongly accused as terrorists. The movie is divided into two parts – first part where past of Shahid where he became a terrorist after a horrifying experience during ’92 riots. However, he return

ed to his senses soon. Then he was labeled as a terrorist and put into jail where he completed his education. He is acquitted. Here part 2 starts. In part two, he gathers his life and becomes a lawyer. Soon, he is disillusioned after seeing malpractices where money is primary and justice is secondary. He decides to change that and fights for people like him who are wrongly accused as terrorists.

Not for a moment director shifts his focus from real Shahid who is vulnerable and strong at the same time. Raj Kumar plays the character to the tee and delivers a career defining performance. Mohd Zeeshan has played second fiddle many times with excellence. As Shahid’s elder brother, he gives another brilliant performance. One scene where he vents out his frustration is a piece of gem. KK Menon and Tigmanshu Dhulia did interesting cameos. Shahid is backed by good visuals, good editing and impressive screenplay. Yes, it could have been better but only a shade or two.

Hansal Mehta #Respect

Written By: Sujoy Ghosh

Lost Films Lost Heritage Part 1 | Under Lens

Many films are literally wiped off from the face of this earth. They are artifacts deserved to be preserved for humanity. TRM makes a note of some brilliant films which are lost.

The Fall Of The Romanovs: Made in 1917, film was about fall of Czars and was released shortly after Nicholas II ‘s abdication. This movie was woven around Rasputin and his influence on the Russian monarchy. This movie was one of the inspirations of 1932 film Rasputin and the Empress. This movie was a strong statement against the monarchy. Rasputin’s confidante turned foe Iliodor played himself.

Different From The Others: One of early sympathetic portrayals of homosexuals, 1919 German film Different From The Others was targeted by Nazis in 30s and this was the major reason why this film lists here. Film shows life and struggle of Paul Körner with the world around them. It also made an attempt to understand the science involved.

A Woman Of The Sea: Also known by its working title Sea Gulls, this is probably only film in which Charlie Chaplin neither directed nor acted in. It was supposed to be made exclusively for Edna Purviance and remained in production for half an year. However, Chaplin was not happy with the outcome and shelved the project. Prints of the film were burnt for tax purposes.

We will talk about a few more films in next edition.

Breakfast at Tiffany's | Charming | The Critique

It is difficult to think of an actress more beautiful and captivating than Audrey Hepburn. Along with Roman Holiday, Breakfast at Tiffany's attests her as a beauty and style icon of Hollywood, probably higher than contemporaries, predecessors and successors. Her ‘little black dress’ and ‘that cigarette holder’ are still remembered with smile. Based on Truman Capote’s novella by the same name, Breakfast At Tiffany’s is a romcom that doesn’t try to form opinion against characters against moral grounds.

Holly is a café-society girl who is in search for a rich husband. Paul, a writer without much to write about, is her new neighbor. Like Holly, Paul is also living a life of parasite. He is toyboy for a rich socialite. Apart from gloss laden dreams of a better future, Holly has a past. She married in her teens and got her marriage annulled. But her husband is not over it. He is not dangerous but is emotional and this is the reason why Holly doesn’t want to confront him. However, she does. Amidst all chaos in life, Paul and Holly comes close. Paul breaks up and decides to express to Holly but Paul is not the man Holly wants. Will they be together?

Film revolves around two characters played by Audrey and George Peppard. Both play their part well without being exceptional. However, they are able to add the necessary element of restlessness which makes them look so close to reality. One of the most fanciful stories is made real by brilliant execution by Blank Edwards. The light moments especially one at Tiffany’s make this a great treat for connoisseurs.

Written By: Sujoy Ghosh

Greetings And Makeover Plans | Editor's Pen

Hi Friends,

Festival Season is on! 

Eid, Durga Puja and Dushehra just went by and Deepawali is round the corner. Wonderful sweets have brought in lots of sweetness in our lives. And few kilos as well. I am a little worried about my waistline now. Every year I work hard to lose few inches and end up adding them shamelessly during this season. Anyways,  as Shaw said - There is no love sincerer than the love of food.

We are over four years old and sticking kicking hard. We are planning some makeover which will include some new sections and a potential design change. I have got some inputs from some of our readers and we are thankful. We are going to implement some of them and working on that.

And Shahid... #Respect. Shahid is a brilliant film that deserved kudos of the highest order. It takes a lot to make a film like this in a country like ours. We need such films more than anything else.

Thanks

Sujoy

Un-filmable | How Did They Made A Movie Out of This | Under Lens

“Books are a man’s best friend”.  Quite a true quote but at TRM we are in love with films, but people say friendship is ruined if mixed with love. Is that really true ?

A novel is deemed un-filmable probably because of its difficult or controversial source material or just that it delves so deep into imagination, that it seems impossible to bring it to life. According to critics some books, are simply un-filmable— until, of course, one day they get filmed. TRM picks few such works (random order), which leave us with an awed expression, “how did they made a movie out of this…”

1. Watchmen(2009) –One can argue that a graphic novel is easier to adapt, after all its already a visual medium. But Alan Moore’s classic comic presented enormous challenge due to its scope. Also, behind the scene story was that the author hates adaptation of his work. It was deconstruction of the superhero genre and had to be adapted with great care. Zach Synder finally succeeded, amongst mixed reviews. The movie is incomprehensible, if one has not read the book. A bold, daring attempt though.

2. Life Of Pi (2012) – Yann Martel’s imagination of a boy with a tiger in the middle of an ocean after a shipwreck and then getting stuck in a living island sounds easy to pen down. Ang Lee has turned this novel to remarkable work of cinema. With the advancement of technology in 3D cameras and animation, you wonder how a wild beast could act so good. They have slightly altered the ending, but this one increases your faith in successful adaptations.

3. Lolita (1962) – Stanley Kubirick’s whole idea was to make profit over Vladimir Nabokov’s controversial novel being considered unfilmable. The problem with this one was the scandalous taboo content, which made the book seemingly impossible to legally adapt in early 60’s. However movie alters the events and majorly the female protagonist is elder than mentioned in book to tone down the effects. The film boasts of some remarkable performances, though author disagrees that film is not what was actually written.

4. Catch 22 (1970) – This one was too introspective, with time jumping structure, varying narrators, which made it difficult to translate to screen. Its famous that complex novels don’t make good movies, but, Mike Nicholas did an admirable attempt. It had back luck of being released soon after M*A*S*H and was not well received by audience. But it has aged gracefully and donned with some stunning cast, excellent acting and individual scenes.

5. Where The Wild Things Are (2009) – Most of the directors have problem in condensing a book’s story on screen but Spike Jonze had to make a full length movie out of children’s short story of just 48 pages. The audience was skeptical about losing its emotional directness and simplicity. But with writer Dave Eggers he expanded the story, yet keeping respect for its inspiration. The digital effects were kept light to let the wild giant creatures as real as possible. It has a fierce take on childhood and growing-up and cannot be dismissed as just kid’s film.

Written By: Neha Jain

The Lunchbox | Buzz That Works | The Critique

It’s a miracle how The Lunchbox works. It’s definitely a good film. Overhyped? Yes, but still a brilliant film. It grows on viewer like Shawshank Redemption where story allows viewer grab protagonist’s shoes and walk in them. The little frustrated or bored or simply tired person in you make you feel The Lunchbox as a little story of your own. That’s the USP of this film and Ritesh Batra has nailed it right.

The Lunchbox is a four pronged story. Sajan played by Irrfan, Ila played by Nimrat, Sheikh played by Nawaz and the unifier – a misplaced Lunchbox. A bored and frustrated housewife Ila connects to a lonely retiring Sajan who is unable to come to terms with his own life. They find comfort in letters. Sajan is also having a problem in giving work handover to Sheikh who has overcame a lot in his life. His strife and determination surprises and impresses Sajan. Lunchbox, a motif in true sense provides them a platform to connect and provides audience a sneak peek into hustle of the metro.

Film is not without faults. Unexplored subplots and too much focus on lunchbox without driving to any point are two major deterrents. Subtle nuances are good. Contrast between calm lives of people and chaos of Mumbai brings in the element of zing to the story. Performances are good. Nawaz excels, Irrfan is quintessential and Nimrat impresses. Amateurs acts amateurish.

Technically – cinematography and music – film excels. Bringing in seasoned Max Ritcher works. Writing leaves much to aspire for. Without actors of such caliber, film would have failed miserably. Direction is decent. Film stands good for the hype it generated. Success of this film would motivate indie to go that extra mile. It means a lot. Really.

Written By: Sujoy Ghosh

  

Anatomy Of A Coincidence | Part 03 | Under Lens

In High Court, Nanavati was found guilty and convicted for a life term. However, different media sections and people from community kept the issue alive and demanded pardon. Government wanted to balance the rage of both the communities and in an extraordinary string of events where a Sindhi convict of respected background was pardoned along with Nanavati. 

In 1973, Gulzar released a movie with Vinod Khanna in lead role – Achanak. Loosely based on Nanavati trials, Achanak was perhaps the second film on this subject plot. Sunil Dutt and Leela Naidu starrer Yeh Raaste Hai Pyaar Ke was the first. But was Yeh Raaste Hai Pyaar Ke based on Nanavati Trial?

In an interview, Leela Naidu claimed that the story and screenplay for the movie was written before the Nanavati case came to fore. Another co-incidence? Well, though the film didn’t work, it is considered to be one of Sunil Dutt’s better performances by the people of that era. Perhaps, relevance played some role here.

Note:

1. Anatomy Of A Murder attained reputation of one of the finest courtroom dramas ever made. It inspired many lawyers like 12 Angry Men.

2. Nanavati case served as a benchmark and reference in many cases. Nanavati left India and settled abroad with family.

3. Jury system was abolished else we would have seen Sunny Deol screaming against twelve of them in Damini.

4. Achanak became a successful film and established Vinod Khanna as a strong actor.  

My Cousin Vinny | Pleasure Ride Indeed | The Critique

You mistakenly shoplifted a can of tuna. Police arrests you for murder. Murder actually took place and Police has eye-witnesses who identified you. What will you do? My Cousin Vinny tells you an interesting story. Billy and Stan are arrested for murder and being accessory to murder respectively in Alabama. With no money, they somehow manage to get an attorney whose qualification is taking six years to clear bar and experience of six weeks in handling personal injury. Mess, well, yes.

Vinny, the attorney, is cousin of Billy and is in a kind of situation. He tells some lofty lies to judge, is not able to grasp the procedure and has no trial experience. Plus, he has a girlfriend who is pretty, will marry him only after he win his first case and her clock is ticking. The judge is having a certain disdain for Northerners and is an old school guy. Vinny’s lack of respect, which is actually lack of knowledge rather, for court procedures is an eyesore for him. Billy and Stan are worried as their life depend on this case. In hostile South, they might be fried if held guilty.

Film works for multiple reason. Characters are funny. Vinny and Mona, his girlfriend, has an amazing chemistry. Both are knowledgeable but lack the conventional way to express it. Funny scenes which meant to provide burst of laughs turn out to be little gems of intellect at a later stage. Script is terrific to say the least. Courtroom demeanors are realistic. Real-life lawyers connected well with the story and presentation. Performances are good. Joe Pesci, Marisa Tomei and Fred Gwynne, who plays judge, were amazing. Marisa won Academy for Best Supporting Actress.

My Cousin Vinny is a small delightful movie. Watch out for little moments and gestures. You will love it.

Written By: Sujoy Ghosh

  

Year 2013 | So Far Disappointing | Editor's Pen

Hi Friends,

Thanks for overwhelming response to our previous edition – Crime and Mafia Special. It turned out to be one of most successful special editions based on hits and time spent by readers. We, from the bottom of our heart, thank you for love and compassion.

We have seen more than three quarters pass by this year and when compared to 2012, it has been disappointing for most of us. Special 26, Kai Po Che, Jolly LLB, Go Goa Gone, Fukrey, Raanjhanaa, Bhaag Milkha Baag, Madras Café and The Lunch Box were among honorable mentions. Ship Of Theseus and BA Pass did well for indie without entering the mainstream zone. The last quarter has too less to offer. Shahid, Ram-Leela and Bullett Raja might add to this list.

Ten years ago, this year would have been considered to be a path-breaking year for content. The country has moved on from 90s and early 00s. Year 2012, made us watch some brilliant films – few all-time best. Year 2013 have been a poor successor. Probably the only silver line is success of The Lunch Box and Kai Po Che. Kai Po Che is one of few examples where filmmakers made a better film when compared to book. I don’t remember many such exceptions. Lunch Box’s success mean a lot to growth and acceptability of indie in this country.  

Anyways, things ahead are always better.

Love

Sujoy Ghosh

Anatomy Of A Coincidence | Part 02 | Under Lens

KM Nanavati comes to know about his wife Sylvia’s affair with his friend Prem. They were cheating while he was away on long assignments. Nanavati realized that their relation damaged beyond repair. Only natural progression was a separation. Despite of all this he wanted his wife to be happy and a security for children. He decided to take the matter in his hand.

Prem, however, was interested in a fling than a relationship. He didn’t had any ambition to marry Sylvia. He stated that categorically to Sylvia. Having casual relationships was not an alien concept for him. But when Nanavati came to know about it the equations changed. Nanavati asked him if he wants to honor the relationship or not. Prem responded with a ‘No’. Nanavati was not ready to accept that as an option. He killed him.

Much like Lt. Manion, Nanavati surrendered with a cool demeanor which was in his favor when the trial began. He was not deemed to be a danger. His uniform and Parsi background also helped him. Sylvia also stood by him. He regretted her affair with Prem and knew that Prem never inteded to marry her. It was a proud defense personnel against a lecherous backstabber. Jury was prejudiced and Nanavati was found not guilty by Jury. Case was referred to High Court.

That was the last time Jury decided fate in a court trial in India. Case was identified as an example where Jury was misled by external factors and were not able to hold tenets of justice. The issue became political. Sindhi community backed Prem as Prem was a Sindhi and they believed that killing was unnecessary. Parsi community backed Nanavati as he did it to keep his honor intact. This trial became a milestone in Indian judiciary and questioned constitution on many points. It also affected the political dynamics and cinema of yesteryears.

Jabbar Patel | Statesmen

Not many people are good at making a politically sensitive film without glitter. Jabbar Patel is one of few filmmakers who have achieved this and he has done it many times. Umbartha, Simhasan and Dr Babasaheb Ambedkar are few fine examples. Apart from films, he has done some incredible work in theatre as well. His play by Vijay Tendulkar - Ghashiram Kotwal – is considered to be one of the finest in Marathi Theatre.

Born and brought up in Maharashtra, he was a pediatrician. His interest in theatre led him to establish an experimental theatre group Theatre Academy. One of his most popular and acclaimed play was Ghashiram Kotwal which was first staged in 1973. It established him as one of the big names in Marathi theatre. He followed it with Teen Paishacha Tamasha in 1974.

Theatre was not able to contain his ability to visualize spectacle. He stepped up to make films. In 1974 he made Samna. Cast boasted of reputed names like Mohan Agashe, Shreeram Lagoo and Smita Patil. He repeated them in many other films as well like Jait Re Jait, Umbartha, Simhasan etc. In 1995, he was awarded Nargis Dutt Award for Best Feature Film on National Integration for feature Mukta.

Year 1998, biggest film of his career came. Dr. Babasaheb Ambedkar based on illustrious life of Dalit leader and founder of Indian constitution. Backed by national authorities and NFDC, the film starred Malayalam superstar Mammootty who came up with performance of a lifetime. The film raised eyebrows of certain sections but protests were subdued. Film won many national awards and lifelong acclaim for Dr. Jabbar Patel.

Written By: Sujoy Ghosh

Ram-Leela | There But Not Quite | Music Review

Sanjay Leela Bhansali, director turned composer is back with his new album after 3 years, and yet he has stretched to give 10 tunes. Yesss, you read it write, the album is too long and hence bear with me if the review grows lengthy too. Anyways, while reviewing Guzzarish in same forum, I said, SLB’s music lacks variation and this album has once again stamped my belief.

The movie aims to be an epic love story set in Gujarat and the music also has the traditional folk touch to it. The album opens with the title track, ‘Ram chahe leela’ with a bang !! A kick-start to the album, and the gossip of Piggy chops dancing to its tune as an item girl is definitely going to keep it in chartbuster race. The contemporary lyrics blend with folk music, add to the spice. Indian Idol gal, Bhoomika Trivedi does her debut with this song, and is pretty confident, wishing her all the best.

Next in queue is ‘Lahu munh lag gaya’, Sahil Hada is just OK, trying little too hard. The Gujarati folk music is good and instrumental arrangement is well synched. Followed by ‘Ang laga de’, the sensuous number. It opens with Aditi Paul’s perfectly balanced voice and seductive notes, and at once promises to be one of the best in album. The song duration is approx. 6 mins and though it sounds pretty decent, it remains to be seen whether it’s visually appealing too!

Sahi Hada appears again, this time with ‘Poore Chaand’. I need to admit here that at first, I considered it least promising in the album. But, its one of those which grow on you. Considering SLB’s fixation for moon, this can be expected to produce some great chemistry between Deepika & Ranveer. With all this we are back to, HDDCS ‘Dholi Taro’. Yes, the song, ‘Nagada sang dhol’ seems to be a sequel. In this dandiya season, its definitely going to set some dance floors on fire. The disturbing factor, is the lyrics, ‘dhaiyan dhaiyan dhum’, c’mon everyone knows how a dhol sounds.

Here comes my personal favorite in album, ‘Laal Ishq’. Arjit Singh, Aashiqui2 & YJHD fame, is making it a habit to get the best tunes. The subtle and effortless singing, with the tinkle of temple bells gives it a soothing feel. The track is well grounded in classical music and though it treads over six minutes, this one is sheer beauty! This is for ones in love.

‘Ishqyaun Dhishkyaun’ the fun element in the album in the voice of Aditya Narayan. The lyrics are too juvenile and totally different from album’s mood. But SLB proves himself again, the music still remains the same and does not go along with happy go lucky lyrics. The only duet in the album, ‘Mor Bani’, is a traditional Gujarati song. Next in line is, ‘Dhoops se’, with Shreya Ghoshal to bring it to life. She once again proves why she can be compared to music veterans of the industry. An emotional and passionate song.

Album ends with, ‘Tattad tattad’, being used for film’s promotion. This one has nothing much to offer other than Ranveer’s  body show.

Verdict – SLB has improved but lacks variety to its hard core, and really can’t warranty the kind of commercial elements that could have ensured a chartbuster status. But still we appreciate this attempt at the traditional folk melodies, in the world of ‘Chikni Chameli’ or ‘Anarkali disco’. Rating – 3/5

Written By: Neha Jain

Witness For The Prosecution | Don't Tell The Ending | The Critique

Bill Wilder was a genius. His sense of dark comedy was sometimes considered to be way ahead of contemporaries. His film Witness For The Prosecution adapted from Agatha Christie work is a fine example. Like most of Christie’s work, WFTP is full of drama and twists and is remembered for rated highly as a courtroom drama in league of Anatomy Of A Murder.

Sir Wilfred Roberts is ill and advised against taking up on any criminal lawsuit. However, he reluctantly picks up case of Leonard Vole who is charged with murder of an elderly lady for property. His relationship with her is also in the grey area of immorality.  However, he has the strong backing of his wife who is ready to provide an alibi. Vole pleads not guilty. Roberts places his points strongly and slowly proves points raised by prosecution dubious. However, his efforts are thwarted by appearance of Mrs. Vole for the prosecution. Roberts, ailing, needs to fight against odds for something he is not sure worth fighting for. what happened? Well, we are not allowed.

There are two outstanding performers -  Charles Laughton who plays Sir Wilfred Roberts and Tyrone Power who plays a role of a criminal Leonard Vole. While Charles brings in the wittiness to the story with quirks, Tyrone is able to break his on-screen persona of a hero and plays role of a grounded person with great ease. Marlene Dietrich and Elsa Lanchester play their part well.

The USP of this film was the climax. The publicity and the screening… and also the legend was built around the iconic climax of this film. If you watch it, don’t tell the climax even to your best friends.

Written By: Sujoy Ghosh

Wisconsin v. Mitchell | The Grey Area | Hammers High

In 1988, Mississippi Burning, a film based on murder of three civil rights activists in Neshoba County in Mississippi was released. This movie was a strong statement against racially motivated hate crimes in US and other places in the world. It showed them how society renegades humanity and degrades into a mass to stinking flesh.

However, in a string of events  which were rather ironical, movie led to a hate crime in Wisconsin and then led to a landmark decision in American Civil Rights history. A group of Afro-Americans, allegedly drunk, were discussing the film. There was a sense of angst in air. Todd Mitchell instigated them and as a result they beat up a young white kid in his pre-teens - Gregory Reddick. Reddick’s only fault was his skin color. Mississippi Burning triggered something it stood against, a tragedy. Reddick was brutally beaten and left in the middle of the road. Attackers presumed him to be dead. After sometime, Reddick was found unconscious by Police. He remained in coma for four days and slowly recovered.   

In an interesting trail of events, this case became a precedent to First Amendment after the case went to Supreme Court. Circuit Court sentenced Mitchell for four years as his crime was racially motivated. It was appealed. Supreme Court ruled that a state may consider whether a crime was committed or initially considered due to an intended victim's status in a protected class. More details on the court case could be found on http://en.wikipedia.org/wiki/Wisconsin_v._Mitchell and other link present on the page.

Crime & Mafia | Editor's Pen

Hi Friends...

'As far back as I can remember, I always wanted to be a gangster'

This famous quote from Goodfellas highlight how much cinema fancy crime. Obviously crime is a reality and a dreadful thing for society at large but there is something very sexy about it. It cannot be defined. It can be understood only when you hold on a .38 Colt Diamondback in your hand. Something like a forbidden fruit.

This edition, a Crime & Mafia Special, focusses on cultural impact of films woven around crime and mafia. We also investigate an important real life case of Reel catching up with Real as promised in our privious edition. We are looking forward to your opinion. Do keep us in loop.

Love
Sujoy

PS: Ali, my boy, Happy Birthday.

Not Everyday Story | Interview With Ahishor Solomon | Golden Podium

Recently we got a chance to do an interview with Ahishor and it was a perfect film to talk about in our Crime & Mafia Special:

01: As the promo suggests, John Day offers thrill. Tell us more about the film?

AS: It is more of a drama/thriller infact....it is basically about these two men, a simple honest god fearing man, and the other is a nihilistic corrupt violent man, let’s call them a saint and the beast....a particular event sets them out on a journey where eventually their paths cross. And they take a bit of each other... the movie doesn’t draw a line between good and evil but blurs that line... no one is a born saint or a beast it’s the circumstances that bring out the worst or and at times the best too ... John Day is a violent film, it is about people who are doomed and damned, there is no hope no solace but only destruction....read it somewhere "when you seek the path of revenge you dig two graves, one of your enemy and one of your own.

02: Thrillers are tricky to conceive and write. As a scriptwriter, how you develop an idea into a thriller on paper?

AS: The plot of the film is loosely inspired by a foreign film. But the core idea of the film occurred to me when once in my home town I witnessed a grotesque sight. A man biting a man throat in retaliation to the savage beatings. The image stayed in my mind only to realize that "with in every man there is a beast hidden and behind every beast there is a story"... yes that the core of the film... the writing took me a long time... drafts after drafts along with time, the script became more layered and characters more complex....what I shot is the 10th draft.

03: How was the experience of directing theatre legends like Naseer Sa'ab and Shernaz Ji?

AS: Fabulous.

04: How did Strings came on board?

AS: They were in Mumbai and a friend of my producer Anjum Rizvi met them and spoke to them about the film... he had seen it the other day on the edit... they liked the story of the film and expressed their interest to do a song... we met and clicked pretty fast... I think they are good at their work. Would like to use them again in my future films.

05: What will be your message for upcoming filmmakers

AS: Be at it...some day you will get a chance just like I did.

Team TRM wishes Ahishor best for his forthcoming ventures.

Little Caesar | Blast from Past | The Critque

In a pre-Godfather era, the war for the best gangster films is a three way struggle – Scarface, The Public Enemy and Little Caesar. Frankly, the comparison is inevitable but unfair. Each of them is a masterpiece in its own right. Directed by Mervyn LeRoy, film made a star out of Edward Robinson.

Small time goon Rico come to Chicago for a better life. He joins a gang. His boss has mellowed down by time but he is ready rage. He kills the commissioner and becomes hero in echelons of underworld. Slowly he controls his gang. He loses his friend Joe who accompanied him to Chicago for a more respectable life. His growth is literally unheralded and he becomes Little Caesar of Chicago ousting other big fishes. Joe proved to be his Achilles heel and Little Caesar is exhumed in probably one of the most riveting climaxes of the age.

Apart from strong performances by actors – especially Robinson who caught public attention after this film and Fairbanks Jr., the film was revolutionary from cinematography aspect. The New Year Eve robbery scene is still studied in lengths in classes. Little Caesar is also remembered for the catch phrase ‘You can dish it out, but you got so you can't take it no more’ and the climax utterance ‘Mother of Mercy! Is this the end of Rico?’.

Ranked at #9 on AFIs list of Best Gangster Movies is definitely a must watch for people who love classics.

Written By: Sujoy Ghosh

Anatomy Of A Coincidence | Part 01 | Under Lens

April 27^th, 1959 -  Kawas Manekshaw Nanavati, a reputed commander in Indian Navy kills his friend Prem Ahuja.

July 01^st, 1959 - A movie based on a 1952 bestseller is released. Lieutenant Frederick Manion kills restaurateur Barney Quill.

Two totally unrelated events had their own share of co-incidences. In the movie, Anatomy Of A Murder which was based on novel by the same name, a small town attorney Paul Biegler played by James Stewart takes on two attorneys prosecuting his client. His client pleads non-guilty on account of temporal insanity. Barney Quill takes advantage of his wife and he murders him in rage. Movie allows the plot to remain in grey area as viewer is made to believe that it is possible that Manion killed Quill in an irresistible impulse, the other scenario where subtle witness doctoring led to fooling of Jury is equally possible.

Decorated officer Lt. Manion who kills a person with dubious record and character and has molested his wife is deemed to be guided by an irresistible impulse to kill and Jury finds him non-guilty. The USP of the movie lies in the trial and the way motive of the murder is used as a trigger to temporal insanity. With few evidences and high emotional voltage Biegler is able to set up the case. He slowly invalidates the solid evidences provided by the prosecution and establishes his case on a weak but emotional foundation. The case is less about establishing a fact but more about establishing it in front of Jury.

Approximately two months back, a similar incident happened in the other part of the globe – in Bombay, India. -  Kawas Manekshaw Nanavati, a commander in Indian Navy kills his friend Prem Ahuja under similar circumstances but for different reasons.

Haji Mastan | A Template For Indian Gangster | Under Lens

It’s difficult to tell how many films Haji Mastan influenced. One can always count a few at the top of his mind, the number and popularity in reality would be close to Al Capone’s influences. May be a less or a more. Haji Mastan, a controversial figure of Bombay of 70s and 80s, has been a template for on-screen gangsters; especially the one with Anti-hero touch. Two films which proudly claim influences are – Deewar and OUATIM – critically acclaimed blockbusters made in different eras.

Deewar is among the best performances of Amitabh Bachc

han. Many iconic scenes from this movie still define the 70s of Bollywood. ‘Mere paas Maa hai’ must have been referenced more than ‘Kitne aadmi they’. The USP of Deewar was the rise and poetic fall of a smuggler. With tragedy in heart and abuse tattooed on wrist,  Amitabh Bachchan literally spoke with his eyes in many scenes. Haji Mastan was not only referenced in mannerism, he was paid a tribute of sorts. Amitabh Bachchan made note of this numerous times in different interviews.

Ajay Devgan playing Sultan in OUTIM is very close to real Haji Mastan story, more than any other film. Not only rise and fall of Mastan is shown (except the death part) in a dramatic way, film highlights the larger than life persona of Mastan in real life that earned him friends in all circles. His relationship with Sona and empathy for downtrodden is also underlined in bold. 

Many films like Agneepath, Company, D, took subtle references from life of Haji Mastan. Some of them were inspired by lives of other gangsters of that era but took the liberty to take cues from life of Haji Mastan to make character more benevolent. One fine example is Nayagan. Nayagan was based on life of Varadarajan Mudaliar however some references can be attributed to Haji Mastan. Interestingly, Varadarajan and Mastan were very good friends. Well, that’s a long story.

Written By: Sujoy Ghosh

Parinda | Underbelly Of Mumbai | The Critique

Who exposed Mumbai’s underbelly to entire world? Was it RGV? No, it was Vidhu Vinod Chopra. FTII graduate Vidhu made a name for himself with award winning short films and critically acclaimed Khamosh when he decided to shun his comfort zone and explore the darker alleys of Bombay in its true shade. Landmark film Parinda starring Nana Patekar, Jackie Shroff, Anil Kapoor and Madhuri Dikshit was the outcome.

Parinda is a story of two brothers – Karan and Kishan and a mafia-lord Anna. Kishan works for Anna but have managed to isolate his young brother Karan from the mess. Karan however gets involved when his best friend, a cop, is brutally in his arms on behest of Anna. He decides to finish this business. He decides to be a mole and joins Anna’s gang. What lies further is an intense tale that tests relationships and character.

USP of Parinda is the intense story and brilliant presentation. Editing by Renu Saluja and Music by RD Burman complements Binod Pradhan’s cinematography. The scene in which Anupam Kher is killed is one of the iconic impressions of the era. Nana Patekar who also contributes in story brings out one of the finest performances of his life. His adaptation of a brutal mafia lord reflected many times in coming years. The brutality expressed through eyes have no parallel. Jackie Shroff and Anil Kapoor too gave performances of their life. Madhuri did an apt act.

A cult classic, Parinda will be remembered long – for content, for performance and for technical brilliance. How many films have managed that in Bollywood?

Written By: Sujoy Ghosh

Scarface: The Shame Of The Nation | The Critique

Made in 1932, this movie literally immortalized infamous gangster Al Capone forever till there is any humanity on this planet. Remade in innumerous ways in different languages and tints and colors, Scarface made in 1932 by Howard Hawks and Richard Rosson and produced by an equally controversial Howard Hughes is considered to be an important film in the history of world cinema.

Scarface is journey of Tony Camonte from a small time goon to America’s biggest gangster. Tony works Johnny and becomes his trusted lieutenant. However, he has a mind of his own. After a point he ignores Johnny’s commands. His violent actions attract fame and police. This jeopardizes his situation and war is declared in the mafia world. There is another subplot involving his sister and his friend marrying against his wishes. This subplot becomes an integral part of the climax and brings a rude closure to his story.

Backed by Howard Hughes, crew collected the guts to achieve something unimaginable in that era. Gore and realism that haunted people, lauded and condemned at the same time. Performances are real. Hysterics and stereotypes were avoided. Paul Muni made Al Capone vulnerable and very real. His preparation reflected on screen. Script and direction were simply brilliant. Directors who made gangster movies in post World War 2 era considered this classic a textbook for their education.

Even after eight decades, Scarface is one of the most watched films of Pre-World War – 2 era and one of the most highly rated gangster movies ever made. Many consider it a breakthrough film which changed the norms of censorship and exposed double standards in name of morality. It was defiant and defined the rules. Howard Hughes will be remembered long for his stand for sake of art. In 1983, it was remade with Al Pacino as Tony Montana.  Like the original, latter got appreciation and attained a cult status as well.

Written By: Sujoy Ghosh

Knowing Gotham | Under Lens

Why Gotham? Why was Gotham City named so? Gotham was inspired by the darker alleys of New York City however Writer Bill Finger wanted to keep the template generic so that people from any Metro can identify with his imagination. Having a fictional name for the city was logical. Amongst many names like Civic City and Coast City, Gotham attracted his attention. It was a subtle reference to New York as it was a sort of nickname for the metropolitan.

How Does Gotham Look Like? Gotham is glorified in night. It rains in Gotham and it rains hard. Its chilly. It reflects the mood of the city. Common man are terrified and cons are at loose. Corruption is rampant. There is no hope even in existence of a vigilant like Batman. The divide between rich and poor is great not comforting by any means. Buildings of Gotham are inspired by Gothic Revival architecture that rose to prominence in mid-1700s. It has a strong Catholic  overture.

Crime World In Gotham: Crime is the only thing that made Gotham so famous. Batman comes close second. There are families – Italian families Falcone, Galante, Maroni, Sabatino and others like Dimitrov and Odessa, Black Mask and their successor Great White. There are Gangs like Ghost Dragons, Golden Dragons, Penguin, Sprang Brigade etc. Also there is Arkham Asylum and casual visitors like Joker. Gordon has a dirty job to do.

On Screen Gothams: On Screen we have seen New York, Chicago, Los Angeles, Pittsburgh, Newark, Tokyo, Hong Kong etc. doubling as Gotham City.

Worth Watch Mafia Films | TRM Picks

01: The Godfather – One of the most glorified imagery of Italian Mafia working in US based on bestselling novel by Mario Puzo.

02: Goodfellas – Takes storytelling to another level. Martin Scorsese film treats gangsters as vulnerable fallible men.

03: Company – Arguably Ram Gopal Varma’s best work which documents a slice of life one of the most dreaded terrorists.  

04: Nayakan – Tamil film by Mani Ratnam is considered to be one of finest film ever made.

05: City Of God – Made in Brazil, a brutal film that dares to bare all about the dark lanes of crime.

IMDb List

Life Imitates Cinema | Editor's Pen

Dear friends…

Life imitates cinema as cinema imitates life…

Co-incidences are not that accidental as we usually assume. Some are so meticulously planned that no sound mind can pass them off as a planned act. But some are definitely accidental. Our next Under Lens series talks about such an event. Though it’s under development, I will dare to pass a hint – Last 12 Angry Men of India. Keep guessing.

Talking about this edition… we picked up two films of great repute for entirely different reasons but built around true events of industrial exploitation. Also, a statesmen  of some iconic films of yesteryears. Let us know your valuable inputs on the articles.

Meanwhile… we are working on our genre special – Crime And Mafia Special.

Thanks

Sujoy

Chinatown | Polanski's Best | The Critique

Whenever someone think of Noir, black and white images surface with few colored images. Those colored images are stills from Chinatown. Roman Polanski’s Chinatown redefined the noir genre. Incidentally, it was last film made in USA by the controversial director. With Jack Nicholson and Faye Dunaway in lead roles, Chinatown tests the morality of characters and poses a question for so called vigilantes of social order.

In the backdrop of scams associated with water distribution in LA, Chinatown starts like a traditional detective drama and slowly walks into a different paradigm altogether. Chief Engineer of LA Department of Water and Power – Hollis Mulwray’s wife suspects of her husband having an affair. Detective Jake investigates this and provides proofs. However, as it turns out the lady is an imposter and it was a ploy to ruin Mulwray’s name. Jake finds himself caught in a tricky situation. However real Mrs. Mulwray – Evelyn – is generous. She forgives him. As the fate would have wanted, Hollis dies in an accident and Jake has all the reasons to believe that it’s a murder. Cornered by forces and hostile police. Jake unwittingly opens the can of worms.

Chinatown is a story backed film with brilliant performances by both protagonist played by Jack Nicholson and antagonist John Huston. While Huston plays a shrewd businessman with strong grip on system, Nicholson plays a vulnerable hero. Dunaway, as Evelyn, complements Jack and in few scenes bursts like a nova. Supporting actors don’t have much to offer when compared to competent leads, they manage to do a decent job. Special note - Perry Lopez who plays a cop. Another highlight of this film is the sound score. Rated at with Chariots Of Fire, it blends well with the genre and expresses the sense of guilt ridden disgust prominently.

Polanski, as man and great director, will be remembered for right and wrong reasons but his legacy will always make a note of Chinatown which influenced a huge supply of films in last four decades.

Written By: Sujoy Ghosh  

Erin Brockovich | Dash Of Reality | The Critique

Swara Bhaskar in her interview told that she wants to play a character like Erin Brockovich. Even Kareena said something similar years ago. Julia Roberts portrayal  of lawyer-activist Brockovich won her Academy, Golden Globe and BAFTA apart from total makeover in career. Based on real story of PG&E being sued by commoners for keeping them in dark about contaminated water resource.

Troubled Erin is in a bad phase of her career. She finds a case of property settlement but unexpectedly she finds a potential case of malpractices adopted by PG&E to increase profits putting residents at risk. The groundwater is contaminated with chromium and this has led to many medical conditions to residents. She braves the situation and fights for the ignorant residents. Court, in historic verdict, holds PG&E guilty. Directed by Steven Soderberg, Erin Brockovich inspires the viewers.

However, despite of a decent direction and brilliant performance by Roberts, the film is plagued by paper-thin plot and superficial narrative. It fails to attain the pace and seemed to be dragging at times, especially in second half. Film neither succeeds in capturing the essence of a legal drama nor evokes emotions enough to keep audience involved. Though successful, film fails to sustain itself as a quality product it would have liked to be. Nevertheless, film good enough for a second or third watch.

Written By: Sujoy Ghosh

Robert Zemeckis | Art Of Imagination | Statesmen

Watching Bonnie And Clyde can actually be inspirational. Robert Zemeckis was motivated enough to think about joining a film school. His parents didn’t approved such an unorthodox idea. University of Southern California rejected him for his poor grades. Somehow, he got admission but the scene was anything but impressive. That was the beginning.  

Fascinated by strong and fascinating visuals, Robert was mentored by Spielberg. Robert’s first meeting with Spielberg is said to be a folklore of sorts. Robert bonded with Bob Gale at USC. They made a student film and won an award. This gave him enough confidence to approach Steven Spielberg and show his film ridiculing protocols. Spielberg liked what he saw. He backed him. His first few films failed. in 1984, Romancing The Stone was released. Speculations were of a failure. Film became a hit. First act thus accomplished. History was ready now.

He made milestone films like Back To The Future and Who Framed Roger Rabbit in 80s. Both not only were appreciated by audience, got nod of the critics as well. After exciting 80s, in 90s he made Forrest Gump which became a huge success and immortalized Tom Hanks as Gump. With awards and recognition, Robert became an icon of his own right. Not many directors have more than a handful of AFI nominations.

Written By: Sujoy Ghosh

Realism On Screen | Editor's Pen

Hi Friends,

Recently two films released – Jobs and Madras Café. This weekend Satyagraha saw the screen. Indian collections of these three films won’t be able to match comedy extravaganza by Rohit Shetty – Chennai Express. However, in pieces, they will leave impact. Tragedy is that none of these three would remain in public memory. Regarding Madras Café, I might be wrong because of the political connection it has and point of view portrayed. These films have a problem – something you won’t feel in Mississippi Burning or The Social Network.

Realistic films are tricky romances. You overdo it and before you can realize, novelty is ruined. One need to balance between what people know and what people want to know. One need to realize that too many things can confuse people especially when plot has references to real world. One can add score of subplots in like of Golmaal and Chennai Express, no one will notice but you cannot do the same with Satyagraha. Remember what happened to Rajneeti?

Anyways, this edition has an exclusive interview with Raanjhanaa fame Swara Bhaskar. Show love.

Wishes

Sujoy Ghosh   

Swara Bhaskar | Learning Characters And The Person Within | Golden Podium

Recently Raanjhanaa came and impressed audience across the nation. It marked rise of Dhanush. But one character which gave us most of the laughs and tore us apart in the end was of Bindiya played by beautiful and promising Swara Bhaskar. Here is our exclusive telephonic interview marking growth of Swara…

01: Hi Swara, you hail from a progressive background. Your education at Miranda House and JNU must have influenced your growth as a person. How did acting came across?

SB: I have studied at Miranda House and then at JNU and was blessed to be taught by some very brilliant and inspiring progressive teachers who have had a very formative influence on me. I haven’t been formally trained as actor. I learnt Bharatanatyam from Guru Leela Samson. Acting happened at JNU with the student theatre group IPTA-JNU and under veteran theatre person NK Sharma at group Act One. As a dancer acting - abhinaya with dialogues interested me because dancing doesn’t require the performer to speak.

You can say I was seduced by camera. As a dancer there is a great distance between you and audience. Each gesture means something that needs to be interpreted. Then there is also the distance of language. Films are more intimate as a medium. I was excited by that. But frankly, I was always a very ‘nautanki’ child - film songs, Chitrahaar, dialogues. These things influenced me a lot. So after JNU I decided to fulfill my latent nautanki desires and, I landed up at Mumbai - CST with bag and baggage staring at the bustling city of dreams like the quintessential moment from films.

02: You have a theatre background. Theatre artists, with some exceptions, don’t find working in films as rewarding for the actors within. Tell us about your transition from stage to screen.

SB: I have done little amateur theatre in college. More sort of activist theatre. On stage, to be honest, I have danced more. Every actor from theatre will say that there is an organic connection when you perform live to audience. You get to live that character, grow into the character during rehearsals, travel that uninterrupted journey of the character during performance in front of a live audience whose reactions are palpable. It’s a whole different energy. As an actor, performing in theatre is far more satisfying.

Films, on the other hand, are all and all the director's vision. You might not get that organic growth as an actor. That growth is like homework for the actor. It’s not like theatre. Satisfaction lies in the final product, seeing yourself in 70mm, up close and personal and how audience feels about it. These two formats are not comparable. You should know what you are expecting. I love both of them.

03: Playing an important role in Listen Amaya must have been inspiring. How was the feeling of working with legends of parallel cinema - Farooq Sheikh and Deepti Naval?

SB: It was great. I would often joke with Director Avinash Singh that he bribed me into doing the film by saying that I will get to work with Farooq Sheikh and Deepti Naval. I feel privileged to work with such stalwarts, such iconic actors so early in the career. Funnily when I read the script I hated my character. Literally I thought Amaya was a horrid spoilt brat. Then I realized that’s where the challenges for the actor lies. As an actor I must reflect Amaya’s vulnerability. The audience will not be able to connect with the character unless you make it your own.

Farooq Sheikh and Deepti Naval are wonderful people. Watching them together at work was a learning experience in itself their craft, their humility. I was very comfortable working with both of them. The experience was thoroughly enjoyable.

04: Your roles in Tanu Weds Manu and Raanjhanaa had a very distinct feeling of Hindi belt. Even the little nuances, like the one in which Bindiya feeds with cows, are spot on. How do you prepare for getting the accent and behaviour right? Is there a method or instinct or you just rely on director's vision?

SB: Firstly I would like to credit writer Himanshu Sharma for creating Bindiya and her world. After all every scene and dialogue and nuance is actually his creation. And Aanand Rai who has given that writing vision and direction. My Nana (maternal grandfather) is from Patna and Nani (maternal grandmother) from Benaras. So I know the language. I know the places. I know that world. As an actor, I am very conscious of both language and body language. Amaya’s body language and vocabulary reflected an urban girl. Payal (in Tanu Weds Manu) was from Patna and educated in Delhi, so she had that element. Bindiya was an out and out small town girl, so her body and speech had those elements. I am a script dependent actor. I work hard on my scripts and pre-shoot preparation, then on set I try and improvise, play and stay spontaneous.

05: Across the platforms since your days in JNU-IPTA and Act One, what was the most challenging role you played?

SB: Funnily commercials are the most difficult ones. Your performance has to be so exact. In 30-40 seconds, you need to evoke so many emotions. The ICICI ad in the bookshop is my personal favourite. I am really lucky to work with good directors from the ad world. In films, the toughest part was my role in Aurangzeb. I had a very short time to create my world. Personally, I had no similarity with the character. Fortunately, I was in the good hands of a very talented director Atul Sabharwal. But my favourite part has been Bindiya from Raanjhanaa. I fell in love with Bindiya the moment Himanshu narrated the script to me.

06: As an actor what is your dream role?

SB: I am a greedy actor. I want roles that drain me physically, emotionally, spiritually by the end of the filming day. Suppose if Bindiya was the central character in a film. Talking about dream roles I’d choose Rani Mukherjee’s in Black, Julia Roberts’s in Erin Brockovich, Daniel Day-Lewis in My Left Foot, also Anarkali’s character in Mughal-e-Azam. I would love to do a period film. I would like some bubbly roles also like Kareena Kapoor’s in Jab We Met. I want it all. 

Team TRM would like convey best wishes to Swara for her forthcoming endeavors.

Nishaad | Sound Of The Last Note | Golden Podium

These days in Mangalore, I got introduced to Closing Frames. Busy ITians, putting in justified efforts on experimental short film making. I joined them and acted in one of their short films. Even though I have some experience of acting on stage in dramas, this challenge was new for me. It went well. With the same group, I got a chance to direct this new experiment “Nishaad”.

If you ask me to describe in a single line, Nishaad is “One scene one expression” experimental short movie for me. Expression of love through various phases in life and the ultimate conclusion of the expression!!! This is my debut attempt of direction. I realize that there are many things to think, when you get a Director’s chair.

All the actors & our cinematographer helped me a lot in making of Nishaad.  Above all, script & screenplay deserves a special applause. I never thought of getting into short film making, but this opportunity has given me new confidence & interest to do more experiments on screen.

We are inspired by Shyam Benegal’s making “Suraj Ka Satvan Ghoda”. Nishaad is tribute to makers of this ultimate creation. I wish to work more sincerely in this movie making field and will definitely try to produce more creative products.

Written By: Amey Joglekar (Director – Nishaad)

Madras Cafe | Not There But Almost There | The Critique

I will always bear the grudge that they named a thriller titled Madras Café. It would have been wonderful title for a romantic drama. Jaffna would have been more apt, undoubtedly. Sircar has made probably one of the most realistic war film made in Hindi. It has elements of every major Hollywood war film made in last two decades and blends it perfectly with prologue and conspiracy of Rajiv Gandhi’s assassination. Also, before people jump onto conclusions, Madras Café is not Kannathil Muthamittal. It doesn’t creates a strong opinion about Tamil cause. Probably, that’s where Sircar got his first step right.

Madras Café is nicely divided in two parts – genesis of Anti India sentiments among Tigers and assassination of Ex PM. Blending fiction with facts, Madras Café is not fool proof. It has its own share of mistakes. For example, there is an agent who is known as agent to everyone. But despite of such mistakes which are probably intentional to carry the story in the stated timeframe, Madras Café brings out elements of thrill and suspense nicely. At no point movie feels dragged. Top RAW agent goes Jaffna with a covert mission to overthrow Tiger leader Bhaskaran. After some hiccups, he does that almost successfully. His failure messes up nation’s involvement in Lanka. Enraged Bhaskaran plots Ex. PM’s assassination.

Madras Café however failed on two points – Pace and Performances. The pace of the movie is a little too much. Lots of information is provided and at times it is not backed with reasoning. Stretching movie by 10 minutes wouldn’t have hurt. Performances are on the inferior side. John is not convincing in most of the scenes. Prakas (playing Bala) and Nargis (playing reporter Jaya) did their part well. Dialogues could have been better. Editing was apt and could have been better. On the positive, cinematography and background score is simple brilliant. Blending video with stills especially B&W stills was a masterstroke. Direction is impressive. Shoojit Sircar has proved his point thrice. With Yahaan and Vicky Donor he explored romance. With Madras Café, he nailed the thriller. When is Shoebite coming?

Written By: Sujoy Ghosh