Realizing Chariots Of Fire | Editor's Pen

Hi Friends,

 

In film Chariots Of Fire, Eric Liddell refuses to run on the Sabbath. As a viewer it was difficult for me to understand how can someone chose religion over nation. Probably not being much religious myself was the reason why I was not able to understand his dilemma. But with time and research I saw his point and agreed. As a person Eric was doing right. I would have done the opposite but that doesn’t make him any wrong. Its just personal choice. The film stayed with me for long, longer than I thought it would. In fact, one dialogue from the film helped us taking a decision.

 

“But they that wait upon the Lord shall renew their strength; they shall mount up with wings as eagles; they shall run, and not be weary; and they shall walk, and not faint.”

 

We are finding it difficult to go on with biweekly editions of TRM. We have been doing it for five years and thoroughly enjoyed this but for bread and butter we work in corporate and it has become really difficult to churn out stories and bring them up twice a month. It was a difficult choice for us but sincerely we believe that it is for better. We are closing down TRM for some time. It’s a sabbatical. Sometime down the line, we will find some renewed strength and take another plunge. We will come back with better stories, better reviews and better infrastructure. We will be back on Chariots Of Fire.

 

We whole heartedly thank you for your support and appreciation.

 

Love and regards

Ali and Sujoy

On Behalf of entire TRM team.

Stanley Kramer | The Larger Picture | Statesmen

When I dedicated my short film to him, it was for a reason. He changed my outlook towards the purpose of making films. I would rather make dated films than irrelevant ones. To stress a little more on this, I would share a quote by one of the greatest filmmakers of our times Steven Spielberg who said that Stanley Kramer is one of our great filmmakers, not just for the art and passion he put on screen, but for the impact he has made on the conscience of the world.

 

Stanley Kramer is known for his message films dealing with socially relevant and controversial topics like racism, anti-Semitism and social disparity. His ability to focus on topics rather than money making films and remain strong impressed critics and audience alike. Films like Not As A Stranger, The Defiant Ones, Judgment At Nuremberg, Guess Who’s Coming To Dinner, Inherit The Wind, On The Beach and Ship Of Fools are testament of his belief that films can pass a message strongly. He faced sanctions and criticism from certain sections but he remained unperturbed.

 

One noted criticism for Guess Who’s Coming To Dinner was that he created a white black character to be played by Poitier. The character was so well creased out that it appeared to be of a white man than a black. Though the critic made a good point because most of the Afro-Americans would rarely be in shoes Poitier’s character was in. However, he missed a point. Hypocrisy of prejudice against a certain race can be exposed only when the only difference remains of that single denominator. In this case – color. Kramer understood this and ensured that he was not comparing apples with bananas. To add to this, the timing of release was simply perfect.

 

Stanley Kramer’s ability to make relevant films for popular audience can be as much as textbook material as his ability to make films with limited resources and constrained budgets. He was one of the proponents of independent film culture in mainstream Hollywood. His experience as producer of low budget films was one of the main forces behind his ability to make films about controversial topics. He was able to take financial risk because he was not risking everything. It come as a help when he became director. Both Judgment At Nuremberg and Guess Who’s Coming To Dinner were shot largely in one location.

 

Stanley Kramer redefined being American. To people who criticized his films being un-American, he said – “Any American film that contains criticism of the American fabric of life is accepted, both critically and by the mass audience overseas, as being something that could never have been produced in a totalitarian state. This in itself builds tremendous respect for American society among foreigners—a respect I've always wanted to encourage.”

 

Written By: Sujoy Ghosh

One Last Request | Open Letter

So, it has been three months now and I haven't watched a movie in theatre. I go for Aankhon Dekhi, a low profile, low advertised movie from Rajat Kapoor, who is known for making off-track movies. I liked it. The reason was not that my childhood friend was debuting in the movie but because it was really a good movie. A warm movie, with no hi-fi foolish action, no cars flying without any reason, no stupid humor. A simple movie with a funny script that doesn't make me crazy laughing, but does bring chuckles throughout its course of 2 hours, along with a few emotional moments. It was nothing extraordinary but impressed me a lot.

 

An hour after leaving the theatre, I had come back to normal. Yes, I was excited to see my friend on the silver screen! But after coming out of that celebration, I was surprised to see how a simple film had overwhelmed me in such vast amount, and I was wondering why!?

 

Few cut to cut moments, and I had everything clear in my head. The reason behind my liking was very simple and straightforward, and that was the degrading quality of Bollywood. The last movie which I had watched was Dhoom-3, and I believe it to be a big blunder. The scars were deep, and took away all my strength to watch a Bollywood movie in a theatre.

 

I am not saying I did not have any good movie at all in the time between, I remember Queen, and... and... Sorry but no other! Thanks to the Johar camp, Rohit Shetty, Salman and the Yashraj group, now movies are just a mean of business, for them to make money and for us to give away ours. Movies are being released just to live for two weekends, earn a few crores (most of the times over 100s) and then fade away. Nobody is bothered to make a mark on us with their good work!

 

I am still wishing for the audience to wake up and stop taking nonsense any more in the name of entertainment. Films like Queen, Madras Cafe, just to name a few, should be promoted. We just need to convey to the filmmakers that our hard-earned money should not get wasted on meaningless hours in theatres. We should be treated well for the money that we spend on them.

 

Thanks to a bunch of good filmmakers, Bollywood is still alive, and I hope it does. Cheers to you guys.

 

-True feelings from a sad Bollywood fan.

 

Written By: Rishabh Shukla

Last Showdown | When Actors Just Completed The Movie | Under Lens

Heath Ledger - The Dark Knight: Much fabled last performance as maniacal Joker and stories which followed to release of The Dark Knight, rarely an actor literally overshadowed the lead actor by his real life absence. Bruce Wayne saw the real world. Images are revered. Heath Ledger whose claim to fame before Joker came along was his role in eternally romantic Brokeback Mountain. When Joker came by, he was a difficult choice for many film buffs but Heath was able to play that character even better than any predecessor with his determination and reclusiveness. As drug overdose news came by, people were not surprised. Such was Joker’s impression.

 

Balraj Sahni – Garam Hava: Traumatized by his own daughter’s death, one of the finest actors of Hindi Cinema played an intense role of a Muslim trader who is not ready to go to Pakistan. For him, India remains land of dreams and aspirations. Place he calls country. That must be a poignant moment when he played the scene where his on-screen daughter dies as well. Balraj Sahni’s Salim Mirza is one of Indian Cinema’s iconic character who embodies the torment of millions who suffered the birth of nation by means of partition and were forced to keep a strong face. In an alternate world, they too would have cried profusely in the darkest and remotest corner of house.

 

Spencer Tracy – Guess Who’s Coming To Dinner: Known for a likeable personality exuding drama and bravado without gruesomeness, Spencer Tracy, in last leg of his career, chose films which had an everlasting impact on the social dynamics. Guess Who’s Coming To Dinner was one such film. As Matt Drayton he highlights the dilemma of a father who is at crossroads of his own teachings. As an open-minded person he always asked his daughter to treat people as equals irrespective of race and creed. But he never imagined that his daughter can fall in love with someone who is not white. Tracy and Hepburn strongly believed in the civil rights and despite of Tracy’s failing health, they fought his illness and completed the film.

 

 

 

 

 

Sikkim | For Sake Of Art | Hammers High

Films can be a medium of propaganda. Over years, different governments supported films with underlying reasons which were explicit but not discussed openly. The Birth Of A Nation, Triumph Of The Will and Why We Fight are well known propaganda films for artistic brilliance. Many would count Casablanca in the list as well. These films show and glorify things which might not be agreeable to certain sections but their disagreement should not restrict a willing audience who might want to see the brilliance of cinema beyond the points of argument. Sikkim, made by legendary filmmaker Satyajit Ray, was banned for similar reasons.

 

Commissioned by The Chogyals – royals of Sikkim before Sikkim was merged with Indian Union – Ray made a documentary about the kingdom. As Chogyals believed, Sikkim was shown as a sovereign. This fine point was the reason of ban when Sikkim became a part of nation. Ray strongly believed that the film was a part of history and should not have been banned. There were two prints available – one in US with Academy of Motion Picture Arts and Sciences and one in UK with BFI. Film has been showcased abroad and lauded. Richard Attenborough, a British film legend, termed it as a personal favorite.

 

In November 2010, Indian Government lifted the ban and was showcased at Kolkata Film Festival. However, only one show was opened for public as an interim order by Sikkim Court forced organizers to suspend remaining shows. There might be legal and diplomatic reasons but for art sake the film should be made available. As a country, we should be able to accept the opinion which doesn’t fit a norm. Banning films is not a solution. It creates a monster. It does.

Actors In A Different Show | Editor's Pen

Hi Friends,

Ronald Reagan is probably the most widely known example of an actor turning into politicians midst huge list of politicians acting forsake of their political career. His political career was no less than a film with many acts. Probably worthy enough for an Academy nomination.

Even in India we saw many film world stalwarts have taken fore in political arena. Like Raj Babbar, Jayalalitha, Dharmendra, Amitabh Bachchan and most notable name NTR. This year, the list will improve with many actors and actresses contesting in Lok Sabha elections. Now, would that change the state of nation, that is something for which we will have to wait and watch.

Charming personalities charm large audiences as well but more than often their influence in parliament is less than notable. That is something that should change for good. Stars should realize that. Their voice is nations voice because they make us believe that great things happen to normal people.

Love
Sujoy

The Conspirator | Value Of Justice For All | The Critique

Though its not one of the best film I have seen in last five years, it is high up there as one of the most thought provoking films. Robert Redford's The Conspirator is a historical drama about prosecution of Mary Surratt who was hanged for conspiring Abraham Lincoln's assassination and hints at miscarriage of justice.

After war, the reconstruction is in progress. However, peace is still not there with few battles pending. Lincoln has successfully won over South and ministry is trying to suppress dissenters. One such group led by John Wilkes Booth conspire and Booth kills Lincoln. Mary Surratt is one of the conspirators. She is tried and defended by Union war hero Federick Aiken. Initially, Aiken doesn't believe and is ready to defend because defending her is needed to ensure preserving her rights and ideals of founding fathers. In course of his case, he starts believing that she is not involved as suggested.

James McAvoy and Robin Wright plays their part brilliantly as Aiken and Surratt respectively. Kevin Kline as manipulative War of Secretary and Tom Wilkinson as Reverdy Johnson who mentors Aiken are exceptional in their roles. Camera work is really inspiring in few scenes like the hanging scene.

The brilliance with which the case is revealed in the story is laudable. Not many films stress upon the need to defend a person even if the public opinion and facts state otherwise. In tough times, sanity is needed and it doesn't take more than iron will to do that. Redford makes a point and he does it very hard.

Written By: Sujoy Ghosh

Reincarnation In Films | Part 02 | Under Lens

The Reincarnation of Peter Proud blended the element of eternal revenge so well that many films followed the suit in coming years.

Reincarnation of Peter Proud was a story of a man troubled by his visions from his past life where he was killed by his wife. Taking a cue out of it, Subhash Ghai made Karz which will be long remembered as the most popular film about reincarnation. Ravi is killed by his wife Kamini. He takes another birth as Monty and takes revenge the way it should have been taken. Haunting theme music became the recurring element. It inspired films like Enakkul Oruvan, Yuga Purush and Om Shanti Om. Success and popularity of Karz can be gauged by the facts that many film titles were based on blockbuster music of this film.

In 80s and 90s, many films were woven around reincarnation. In India, films like Karan Arjun, Suryavanshi, Hameshaa etc. and in west films like Déjà vu, Made In Heaven etc. were made. Keeping aside BO collections, content wise nothing notable was introduced. New ideas and better technology literally meant a closure for a dated idea. Then came films like Cloud Atlas and Eega. Their technical brilliance is one thing and content driven plot is another. These films worked and got critical acclaim as well. Especially Cloud Atlas which involved karma and reincarnation with such a brilliance that even sages from ancient India would feel proud. Though in between some good films came but they failed to move on from the oft repeated ideas and plots.

The idea of rebirth is so natural to human that despite of logical failure and absence of concrete evidence, it remained one of the most popular formulas of filmmaking.

Mainstream Meets Offbeat | Editor's Pen

Hi Friends,

In recent season of Koffee With Karan, we saw Anurag Kashyap coming and opening up his heart. He talked about how he and other people from alternate cinema looked at people from mainstream cinema with contempt and how the perception is changing now.

Over last few years, the bridge between mainstream and alternate cinema has reduced. Lunchbox and The Ship Of Thesus was introduced by more conventional brands. Phantom and Dharma came together for Hasee Toh Phasee which came up as an interesting film. Karan working in a film made by Anurag with Ranbeer and Anushka will be a new step for a friendship which will help Indian cinema in great ways.

Lets see...

Thanks
Sujoy Ghosh

Kissi Se Na Kehna | The Critique

Like most of the Hrishi Da films, Kisise Na Kehna is a sweet romantic comedy woven around a family with middle class values and a big lie to thwart some orthodox belief. It attempts to break stereotypes just like Chupke Chupke, Gol Maal and Naram Garam. Film casts Farooq Sheikh and Deepti Naval in typical reluctant romantic couple, Saeed Jaffrey and quintessential Utpal Dutt.

Dutt who plays an old school retired person is disappointed by the education system which has spoiled the upbringing of the new generation. He is not able to adjust to rebellious and outspoken new world. He wants to protect his son Ramesh played by Sheikh by finding an uneducated daughter-in-law. Sheikh finds his soulmate in Ramola played by Naval. Ramola is a doctor by profession. 

When Dutt's obsession with search for uneducated bride becomes unreasonable and Ramesh is not able to express his desire to his father, Saeed Jaffrey who plays Dutt's friend Lalaji devices a plot.

Kisise Na Kehna establishes old school ideology without being whimsical or illogical. Family values are immune to educational influences and westernization is not a threat - Hrishi Da strongly makes his point. 

Written By: Sujoy Ghosh

Reincarnation In Films | Part 01 | Under Lens

Films, like religions, across the globe are fascinated by the idea of reincarnation. Though West feels detached from the idea, East is simply enamored with it. However there are enough reference in popular culture across the boundaries that we can assume that every culture, in a way or other, has shown some interest in the idea. From Mark Twain and Edgar A. Poe to Anthony Horowitz, literature explored the idea. In a similar fashion, films toyed around the idea in great detail.

In silent era, cinema was highly influenced by folklore and fantasy stories. Though reincarnation was not as popular as morphing as an idea, it was still pretty much valued. Especially in Indian films which were woven around Indian Mythology. Stories of Nala Damyanti, Harishchandra, Vishnu Avatars etc. were huge resources incorporated the idea of reincarnation in Hindu scriptures. These stories became very popular among masses and even caught the imagination of West. West, however, didn’t explored this concept in great detail despite of having it as a recurring theme in Greek and Roman mythology. There are certain lost films in which characters died to take rebirth or transformation into an animal. These ideas were rarely detailed beyond a point. Europe was exploring abstract which had great influence on story telling in coming years.

With Sound and then Color Era, the idea of Reincarnation went a step ahead and beyond mythology. Films like Mahal and Madhumati became big hits. In sixties, Neel Kamal and Milan followed the trend in India. The Three Lives of Thomasina and Patton too had strong references of rebirth. Around this time, films were more romantic and the element of eternal love was put forth. It worked well with the audience. But more was in store for them.

Love stories were fading away and changes were challenging them.

Balu Mahendra | Editor's Pen

Hi Friends,

Many film directors have made sensible films about human relationships and the complexities. From Bimal Roy to Adoor Gopalakrishnan have excelled the craft. In 1983, Hindi film audience were introduced to one of the better films of the decade and it came from a rather unknown name. Another director in the same league - Balu Mahendra. His film Sadma, starring Kamal Hassan and Sridevi, tickled the funny and emotional bone at the same time.

Srilanka born Balu Mahendra made India home and made great contribution to Indian cinema. We lost him recently. A great loss. His films like Kokila, Veedu, Sandhya Ragam, Moondram Pirai etc. made him an everlasting name in Indian cinema. His films will inspire us.

His last film Thalaimuraigal marked two things - Box Office failures cannot curb hunger of an artist and technical limitations of a Canon 5D are only for normal filmmakers, not for mavericks. In fag end of career while most of the makers become enamoured by past laurels, some want to walk that extra mile. We need such directors. We need more Balu Mahendras.

Regards
Sujoy Ghosh

That Cuckoo Definitely Flew Over | Part 2 | Under Lens

Based on a novel by the same name, One Flew Over The Cuckoo's Nest was made by Miloš Forman starring Jack Nicholson and Louise Fletcher in lead roles. Rated as one of the finest films ever made, this film bagged all five major Oscars – Actress, Actor, Screenplay, Director and Film. In an illustrious history of Academy, this feat has been achieved only thrice – It Happened One Night and The Silence Of The Lambs are two other films with the distinction.

OFOTCN was story of a maniacal character Randle McMurphy alias Mac who is in asylum for evaluation. Asylum is his way to soft sentence. In asylum nurse Ratched is the cause of fear induced mental trauma for most of the patients. Her means are mean and barely helps the patients to recover from their respective issues. Mac shows his rebellious streak and fights for the rights of patients who are in need to care and compassion. The end reflects the social paranoia existing in systematic world against the outliers and rebels.

There are few parallel lines between Deep Jwoley Jaye and One Flew Over The Cuckoo's Nest prompting some filmmakers to blend the elements.

Made in 1986, Malayalam film by Priyadarshan Thalavattam starring Mohanlal and Karthika in lead roles successfully blends the element of both the films. A compassionate doctor played by Karthika fall in love with mentally traumatized patient played by Mohanlal. When he recovers, they decide to be together. This, however, is not agreeable to doctor’s father who is head of the institution. He lobotomizes the patient. In the end he realizes his mistake when his daughter becomes mentally sick after she learns about her father’s misdeed. Thalavattam was remade in Hindi by Priyadarshan with Salman Khan and Kareena Kapoor in lead roles.

Lions For Lambs | The Critique

You have Tom Cruise and Meryl Streep – best of both the worlds – and add Robert Redford to the preposition. While all grey cells are dancing with happiness, your eyes are shocked to read bad or to put it mildly, un-favorable reviews and unbelievable Box Office collections for a Tom Cruise film. Some of it definitely reflect reality. There are reasons to hate this film. There are reasons to say – don’t watch this film. There are reason to say – it’s a lamb leading a pack of lions.

Tom Cruise plays a Senator pushing forward a bill to change war strategy in Afghanistan to counter nexus of Iraq, Iran and Afghanistan’s fundamentalist powers. He wants a journalist – played by Streep – to created favorable public opinion. Streep has her own reservations as from the outset it looks more like a propaganda. On the other hand a professor – Redford playing the character brilliantly – wants a promising student of his to come out of the disillusion phase of his life. He tells the story of two of his students who are currently fighting in Afghanistan. These two story develop the content however fail to evoke strong emotions. They are backed with performances but fail to impress. There is a third story which is not neatly etched but explains the hypocrisy of elite political sections and failure of idealistic educators. The two students who joined defense fight it out the hard way in frozen peaks of Afghanistan.

A good idea is muddled and impact is ruined. The film fails to conclude properly and leaves audience in a confused state. A film which should have either made audience cringe or inspire them, failed on both the counts. Performances, nevertheless, are good. Cruise surprises with the subtle moments. Streep and Redford – experience helps them walk into their roles. Andrew Garfield is ordinary.

Redford is an accomplished filmmaker. This film might have disappointed many but the intent deserves an applause.

Written By: Sujoy Ghosh  

  

Miss Lovely And Dark Alleys Of Cinema | Editor's Pen

Hi Friends,

Miss Lovely will be rated high when we will discuss Blue Notebook in December. Ashim cracked the pot. The film's biggest achievement was perhaps beyond the performances and technical brilliance. It was more about bringing in an off beat idea in mainstream and provide decency to sleaze.

80s was a difficult time for Indian cinema. Unwanted element and bad films took over the theatres and made nuisance out of probably the most favored medium of entertainment. But at the same time, these bad films provided food and shelter to many. In fact with VHS and VCR and failing economy, these helped many remain afloat. That was the unexplored aspect.

In The Dirty Picture by Milan Luthria, in a rather passing moment this era and people working the C-grade cinema is presented. Maybe it captures only a shade of spectrum, it remains with you even after the credits. It shows us the difference between glitter and gold. However, the scene was from a certain point of view and failed to show the other side.

Miss Lovely nailed that. Probably some day, as a tribute, we will do a series or a special edition.

Love
Sujoy

That Cuckoo Definitely Flew Over | Part 1 | Under Lens

Ashutosh Mukherjee’s Nurse Mitra was considered to be a taboo idea to show on screen but for a progressive filmmaker like Asit Sen, it was a story worth sharing with mass. Can a nurse providing affection to patients suffering from emotional trauma become victim of the same ailment? The very sanctity of  the relationship between a patient and nurse in a rather motherly role takes a hit when she start developing emotions for the patient. The tragedy is that the patient upon recovery detaches himself leaving behind a emotionally distressed nurse.

Frankly for people saying cinema has grown, watch films made in 50s and 60s. That was the apogee of the cinematic brilliance.

Asit Sen’s Deep Jwoley Jaye made in 1959 is remembered for music by Hemanta Mukherjee and inspiring performance by Suchitra Sen. Her performance inspired actors like Waheeda Rehman, a brilliant actor in her own right. When she played Suchitra Sen’s character in Khamoshi opposite Rajesh Khanna and excelled, she noted that her performance was nowhere near Suchitra Sen. These films are considered to be finest performances by these two actresses.

The theme of Nurse Mitra and deviants are recurring ideas in World Cinema. Remember One Flew Over Cuckoo’s Nest?  

Worth Noting –

1. Many literary works by Ashutosh Mukherjee were made in Bengali and Hindi Films – like Safar, Bemisaal, Kora Kagaz, Maar Kantak etc.

2. Asit Sen made successful films in Hindi and Bengali. Safar was probably his most well known film in Hindi.

3. Chivaraku Migiledi (Telugu), Thalavattam (Malayalam) and Kyun Ki (Hindi) are some of the Indian remakes of the Bengali film apart from Khamoshi.

Muhafiz | The Critique

Merchant Ivory films set in India are perfect mélange of colonial aesthetics and Indian emotions. Muhafiz or In Custody is a fine example. Muhafiz was Ismail Merchant’s first feature and was backed with over three decades of world class filmmaking. The outcome justifies the burden. Ismail Merchant deliver a world class film. Starring Shashi Kapoor, Om Puri, Shabana Azmi and Sushma Seth in lead roles, Muhafiz explores the decline of Urdu in India with industrial development and globalization.

Deven (Om Puri) is a Hindi teacher whose first love is Urdu. His passion for Urdu poetry is admired by an editor friend of his who asks him to interview one of the living legends of Urdu Poetry – Noor Shahjehanabadi played by Shashi Kapoor who had gone past his best age and shape but his diction and mannerism were as good as they were in his best days. Noor has two wife – first wife is practical and trying to work out life for the family while second wife who is not only young, she believes that she writes well. However, everyone doubts that she passes off Noor’s poetry as her own. Deven wants to interview Noor but faces troubles from all directions – Noor’s falling health, his friends, his wives and budget. There are some moments where you feel that Deven is putting too much on stake for a fanciful idea. But the conviction Deven has in his passion is exemplary. He is frustrated but not done.

Muhafiz shows a brilliant contrast in Old World and New World – how meaning of life has changed. Noor is metaphor for the Old World being adored by a present (Om Puri) and ignored by New World (many other characters). Ismail Merchant blends music with brilliant performances and weaves out an exceptional film out of a rather average story.

Written By: Sujoy Ghosh

Raanjhanaa | Analysis Of Best Film Of 2013 | Blue Notebook

There was a little discussion on facebook and offline on how a film like Raanjhanaa whose mere selection was debated with some heat, won the best film of 2013 at Blue Notebook. Simple answer – it was an audience poll. But why audience appreciated it over films with more substance? Raanjhanaa was definitely one of the better made films but was it the best? Maybe it was because it was a perfect blend of everything a film demands.

Raanjhanaa might not be the best album from ARR’s catalogue but some of the songs were right there in most loved songs of the year. Songs like Banarasiya and Tum Tak were character driven and brought up the individual elements of the character. On the other hand songs like Piya Milenge and Tu Man Shudi were situation driven and pushed the story well. Piya Milenge had the haunting feel which made audience nervous to the core. The folk and classical blend in the musical was perfect manifestation of Benaras.

Story was developed in two parts – both sort of coming of age tales. First story was about innocent one sided love where the lover feels cheated brutally by the girl. He acts on whim and causes catastrophe. Second story is where the lover matures and faces his mistake in the hard way. His act of penance might seem foolish to people, it bring about the conclusion. In the end, the lover, still very much in love, is tired of the pursuit. Somehow, it reminded me of climax of Gone With The Wind.

Performances of different characters, with special mention for the side characters, were top notch. Only exception was a little broken but still her best ever – in Sonam Kapoor who played the lead lady. In cameo Abhay Deol nailed the role. Zeeshan and Swara were immaculate in their interpretation of characters. These two characters alone worth a re-watch. However, the USP of the film was Dhanush who played a Tamil Brahmin born and brought up in Benaras. His accent had the Tamil feel and somehow it worked for the character. He nailed almost each scene of the film.

As a package, Raanjhanaa was able to attract class and mass alike. For Hindi belt watching a Tamil star speaking chaste Hindi was a delight. Arguments will be there in favor of other films but still it was hardly a wrong choice.  

Blue Notebook Results | 2014 Thanks 2013

Its magical how cinema works. Like an impossible jigsaw puzzle which somehow fits in to amazement of audience. The creator smiles and thanks the Lord on the seventh heaven. Cinema is probably one of the most complicated puzzle. The outcome looks simple but the process demands blood and dedication in addition to talent to back with.

Last year I said - New Wave/Parallel/Alternate Cinema is no more different from mainstream cinema. Its part and parcel… no rather focal center of Indian Cinema now. When 2013 will take over the reins, it will have herculean tasks to accomplish. Well, I was right. Year 2013 had some tough time to deal with. It did well. It didn’t raised the bar but didn’t let it fall either. Probably there was a silver lining as well – small films doing well.

Let us start with first set of awards.

Living in an era and bringing it alive on screen are two different things. Art Direction is the craft to make it possible. From fine details like kind of shaving blade used to larger artifacts, everything speaks about the time and era. The trick is not only to be accurate but to be convincing as well. It’s something that can easily go wrong but tough to appreciate. The unsung heroes of Cinema. The award for Best Art Direction goes to  Bhaag Milkha Bhaag.

While Art Director makes think relevant in all dimensions, x,y,z and time – Editing involves an equally daunting task. What exactly an editor does? Clips cut and add? In layman language, it’s as complicated as selecting equal sized pebbles on shore of an ocean.  You have tools but if you don’t have an eye for perfection, no video editing tool can help you. In 2013, this trick was nailed by team of Madras Café. Kudos.

Best Art Direction –  Bhaag Milkha Bhaag

Best Editing – Madras Café

Indian films have always been about music. Musical dramas have been our forte. A Russian singing ‘awaara hoon’ or an Uzbeik dancing on ‘disco dancer’ simply elaborate the global reach of Indian Music. However, over last few years the focus have shifted. This year has been a very average year. Still few albums made their mark. Like the winner of this category.  The award for Best Music goes to  Aashiqui 2. Frankly, it had no contest. Outright winner with 37.5 percent votes.

Few years back it was incomprehensible that we will deal with topics like the ones we managed this year. From adaptations to obscure, Hindi films toyed with multiple ideas and worked them out with some finesse. The winner of the award in this segment was a slice from past. While Tamil cinema has done some incredible work, Hindi cinema remained largely aloof. Yes, we are talking about the Best Story award winner Madras Café which successfully handled a complicated and sensitive talking to walk past the next best story – Fukrey – with lead of seven percent.

Best Music – Aashiqui 2

Best Story – Madras Café

The boundaries are becoming irrelevant. Films which were earlier geographically localized are now becoming global phenomenon. Success of Regional and Foreign Films attest that. This year there is a curious tie for Best Film In Regional Language between two very well made and deserving films - Duniyadari (Marathi) and Lucia (Kannada). On the other hand we had a clear dominating winner in Best Film In Foreign Language category – sci-fi philosophical adventure Gravity (USA).

Best Film In Regional Language – Duniyadari (Marathi) and Lucia (Kannada)

Best Film In Foreign Language –  Gravity (USA)

Now let’s talk about the most outstanding performances on screen. Last year Irrfan Khan won it for Paan Singh Tomar. This year, I don’t know if its co-incidence, the award for Best Actor goes to extremely talented Farhan Akhtar (Bhaag Milkha Bhaag) for capturing the imagination of Indian audience with metamorphosis and soulful performance. This has definitely opened the doors for better sports films in this country.

Among actresses, all nominations had something about the role they played and there was No Vidya Balan this year. And there was a tie. The Best Actress most deservingly goes to Divya Dutta  (Bhaag Milkha Bhaag), Nimrat Kaur (The Lunchbox) and Chitrangada Singh (Inkaar). Kudos. The tie says it all. Brilliant contest.

Best Actor – Farhan Akhtar (Bhaag Milkha Bhaag)

Best Actress – Divya Dutta  (Bhaag Milkha Bhaag), Nimrat Kaur (The Lunchbox) and Chitrangada Singh (Inkaar)

The director who got our attention and the prized recognition of Best Director did something unusual. He redefined film making with a small film that made everyone smile. He used a motif so visible that it was literally non-consequential and weaved the story around a rare co-incidence. The Lunchbox brought a sense of Relevance in our lives. Thanks and congratulations Ritesh Batra. Way to go man. Rakesh Omprakash was a close runner up losing by a margin of less than 2 percent.

The Best Film will bring some reaction. Even we didn’t expect this. Apparently as a package film was a complete delight. It was not philosophical on a higher level but had some moments which made us thoughtful. Some moments were brilliantly captured. Critics would argue but audience has made their choice.  Its Raanjhanaa.

Best Director – Ritesh Batra (The Lunchbox)

Best Film – Raanjhanaa

With that we would like to thank you for all your votes and appreciation. It means a lot to us. I hope you like this entire exercise.

The year 2013 was a good year, hopefully 2014 will be even better. We will come back with Blue Notebook again in 2015.

Indie Efforts Making A Point | Blue Notebook

The Lunchbox: Ritesh Batra’s much appreciated film which was almost selected for country’s entry for Academy Awards – Foreign Language was more about relationships and abstract connection between rather unrelated dots. Irrfan Khan and Nimrat Kaur – rather unusual lead pair – was dubbed as the most romantic couple on screen in a couple of year or so. on the other hand, in a quintessential role, Nawazuddin held his guns against the last king of his kind – Irrfan Khan.

Lucia: Nolan is definitely not the only man who can sell dreams so convincingly. Crowd funding, low budget and word of mouth, Kannada film Lucia appeared to have checked all the boxes correctly. Pawan Kumar moved from his acclaimed debut Lifeu Ishtene to a new model of funding and worked it out well. However, the USP was not crowd funding. It could have been made anyways and still would have got the acclaim for being an interesting psychological thriller. Critics rated it the best film concept wise in rather a long duration.

Qissa: An Indo-German collaboration, Anup Singh’s Irrfan Khan and Tillotama Shome starrer Qissa can boast of accolades it has got across the globe. Irrfan plays patriarch of a sikh family with four daughter. In the turbulent times of ’47 partition he raises his fourth daughter as a boy. The idea and the performance backed with capable technicians makes Qissa more than just an interesting watch.

Tasher Desh: More than often Q will appear in this section. His adaptation of Tagore’s  work by the same name has broken the conventions, even the ones set by Q himself. The selling point of the film is Q’s interpretation of Tagore’s work and its presentation. If at times performances don’t matter much, this is one such occasion. However, Q has been lucky to get a good team both behind and in front of camera.

B.A. Pass: Noir rarely work in India. Low budget noir die premature death. Ajay Bahl however managed to get the business right. Word of mouth and saucy promotions ensured enough footage to get the audience. Shilpa Shukla was the star of the film from the moment her name came across. She justified it with her performance. Though there were moments which seemed to be overdone, the movie successfully passed the message across the board. Well, a good precedent.

Legends We Lost Last Year | Blue Notebook

Roger Ebert - Film Critic - One of the most revered film reviewer of all time, Ebert was the first critic to receive a star at Hollywood Walk Of Fame. He popularized the art of film reviewing and inspired a whole generation of film bloggers.

Peter O'Toole - Actor - Shakespearean actor Peter was a known name in theatre circles before he came to cinema and adopted it with great finesse. Eight Oscar nominations spanning over five decades speaks volumes about his body of work.

Rituparno Ghosh - Director/Actor - Rituparno, one of the finest Bengali directors, will be remembered for his open thoughts, compassion for Rabindranath Tagore's craft and sensitive filmmaking. Awarded with National Award 12 times, he died fairly young leaving behind a thought - may be his best was yet to come.

Joan Fontaine - Actress - Joan will be remembered for her charm and acting skills. She is the only actor who got an Academy Award for a part in Alfred Hitchcock film. Only sad note will be uneasy relationship with her sister, an equally accomplished Olivia de Havilland.

Farooq Sheikh - Actor - One of the most underrated actor of post Golden era in Hindi cinema when mainstream and Parallel cinema parted and later came together. He played roles in exceptional films like Garam Hawa, Shatrannj Ke Khiladi and Chashme Buddoor.

2014 - Waiting List | Blue Notebook

Year 2014 sounds like an interesting offer. Apart from expected blockbusters like Jai Ho, P.K., Kick and Shuddhi, there are few interesting indie and offbeat cinema on platter. Mainstream too is experimenting on those line. TRM sneaked into 2014 and picked films which might grab your attention:

1. Miss Lovely: Ashim Ahluwalia’s film about C-Grade cinema may or may not interest the big spenders, it will be a treat for cinebuffs. Nawazuddin’s performance has gathered accolades in various fests the movie have been to.

2. Shaadi Ke Side Effects: Two immensely talented actors – Farhan Akhtar and Vidya Balan – will be a couple in this film. Sparks are already there on youtube. Laughter fest for sure. Trick is that it’s a sequel. Will it match the standards?

3. Finding Fanny Fernandes: Homi Adajania had our attention with Being Cyrus and Cocktail, will try to stretch the envelope. Some films deserve to be made, this story about five friends searching for an old postman’s lost love is one of them.

4. Haider: After Maqbool and Omkara, this will complete the Vishal Bhardwaj – Shakespeare’s trilogy. One of the most complicated stories of Shakespeare is a challenge for everyone – from actors to technicians. Will they bridge the gap?

5. Bombay Velvet: Ah, one of the most awaited film for like two thousand years now. It was in air when Dev D was released. Will this movie really release? Anurag Kashyap’s second outing of the year will note debut of Karan Johar in a major role. With Ranbeer and Anushka, there is some talent up there.

Music Of 2013 | A Random List | Blue Notebook

In quest of searching nominations for Blue Notebook, we did a little scan of the music of 2013 and courtesy our music specialists Neha and Rishabh we made a quick list of best of 2013 and the crooners who rendered their voice.

1. Ambarsariya (Fukrey) - Sona Mohapatra

2. Chahun Main Yaa Na (Aashiqui 2) - Arijit Singh, Palak Muchhal

3. Khoon Choos Le (Go Goa Gone) - Arjun Kanungo, Suraj Jagan and Priya Panchal

4. Meethi Boliyan (Kai Po Che) - Amit Trivedi and Mili Nair

5. Kabira (Yeh Jawaani Hai Deewani) - Mohit Chauhan, Harshdeep Kaur | Rekha Bhardwaj, Tochi Raina

6. Zinda (Lootera) - Amit Trivedi

7. Raanjhanaa (Raanjhanaa) - Shiraz Uppal, Jaswinder Singh

8. Poore Chaand (Goliyon Ki Raasleela Ram-Leela) - Shail Hada

9. Saawan Bairi (Commando) - Rahat Fateh Ali Khan

10. Maston Ka Jhund (Bhaag Milkha Bhaag) - Divya Kumar

Blue Notebook - 2014

Blue Notebook | The King Is Back | Editor's Pen

Hi Friends,

Blue Notebook is back. Its payback time, friends. Appreciate quality cinema and open arms for more and more quality work. This year -2013 - has been a year of big blockbusters and cool indies. Money and art are growing together and how well, We sincerely hope that the story continues.

Last year ended on a sad note. Ever smiling Farooq Sheikh left us in tears.

Over last three decades, he was a part of Indian middle class. Films like Garam Hawa, Shatranj Ke Khiladi, Noorie, Umrao Jaan, Chashme Buddoor, Katha and Lahore, tele-shows like Chamatkar and Ji Mantriji, chat show like Jeena Isi Ka Naam Hai and one of the most highly rated theatre romance – Tumhari Amrita. Such diverse and prolific career has no parallel. Be it Garam Hawa, Katha or Chashme Buddoor, he reflected the persona of a young man to the tee. With same brilliance he played Kaul in Shanghai. But probably the finest example for this generation would be Ye Jawaani Hai Deewani. This movie almost touched 200 Crore barrier but the most memorable were those five minutes where Farooq Sa’ab talks to his son Ranbeer. The movie was worth every penny spent for those few minutes. I felt I was talking to my father. We will miss you Sir.

I hope you like the new look of TheReelMag. We tried to make it more reader friendly – from both visual and navigation point of view. It might not strike as something outstanding from looks perspective, I hope it’s pleasing and comfortable for a sweet lingering reading experience. Well, more changes are in pipeline and will update you.

Love

Sujoy Ghosh

Blue Notebook | Voting