Future of Indian Cricket Team

Here is what I think should happen, please add your comments:

Greg Chappell:
Should be sent packing to ruin some other country's youthful and promising cricket program, preferably Pakistan !The BCCI should use his $175, 000 USD plus perks salary in a different way.They should be innovative and become the first team to hire 2 coaches, both local, and both who can complement one other. Sidhu, Dev, Azzharudhin, Gavaskar, Manjrekar among possibilities ?

Rahul Dravid:
Remove him from the captaincy and allow him to focus on what he does best. Becoming a "wall" again !!Like Jacques Kallis for SA, let Dravid be the best position batsman there is and let him not decide heads or tail, but 6 or 4 !!

Sachin Tendular:
Allow him only to play against minnows so that he can pad up his statistics and race onto 50 test centuries !Thank you so much for everything Sachin-paaji, but you have nothing to prove to anyone (especially those fat-cats in Mumbai who booed you), so play infrequently and boost your runs and personal statistics and stay healthy enough to add to your Hall of Fame career the one thing missing from it: a World Cup medal which you can gloriously add in your home country in 2011 !!

Ajit Agarkar:
Allow him to act in a movie as Sonu Nigam's double-role and since he is less than 30 let him work on his bowling in One-days, so that he can be a specialist in it.He should be encouraged to hit the gym and bulk up a bit.


MS Dhoni:
Nearly 26, so let's wish him a happy Bollywood career, and let's check to make sure he wasn't throwing his wicket away for any other reason apart from poor shot selection.Try to use him as a genuine pinch-hitter or an opening batsman in One-days a la Gilchrist.

Saurav Ganguly:
'Dada' should be able to chuck in 2-3 more years as he is only 34. He should be made to give every player about to be dropped a speech about what to do while you are dropped !! He should work on his bowling so he can become a real bowling option.

Harbhajan Singh:
Less than 27, I wouldn't mind giving him the captaincy, for the sake of it !!Bhajjie is aggressive, dynamic and though he occasionally can't hold a first-team spot, with Kumble going soon he should try to become a permanent in that Indian line up.

Dinesh Karthik:
Nearly 22, groom him as India's next captain by giving him the vice-captaincy. Allow him to bat with the likes of Dravid, Laxman, and Tendulkar so he can watch them from the other end.

Zaheer Khan:
Keep faith in Zaheer for a bit more but if he doesn't shape up his act by the time he is 30 (next 1 and half years) then do the needful. Though keep him at hand since he owns a restaurant in Pune, he can always be a caterer for the team !

Anil Kumble:
Let him get to 600 wickets then draft him in as a bowling coach.

Munaf Patel:
Almost 24, make him a regular in the team, and ensure he stays healthy and knows that together with Sreesanth and maybe Khan and Pathan he has to shoulder the bowling for the next decade.Show him videos of former bowling greats and let him work on his batting.

Irfan Pathan:
Many would be surprised that this lad is only 22 ! A veteran of 25 tests and nearing 100 test wickets, Irfan has to be bought back to earth, sheltered from the glitz and glam that has followed him of late, and stay from injury !Him, Patel, Sreesanth etc. are all who would benefit from India having a bowler or a bowling specialist as one the coaches. Mr. Kapil Dev are you listening ?

Virender Sehwag:
Drop him for a year, let him clear his head, and if he still wants to come back to the team, let him earn his place and let him announce what number he wants to bat rather than make him play musical chairs in the Indian batting order !

Shanthakumaran Sreesanth:
Gopu has a good strike rate in test cricket and he is young, energetic and ambitious, and according to people who have met him, a thorough gentleman and genuine good guy. He should be kept far from Mumbai and the media and allowed to concentrate on following in the run-up of Glen McGrath and Courtney Walsh and possibly being India's greatest fast bowler yet.

Robin Utthappa:
At 21 Utthappa has lots of time to mature and develop, and having good seniors he should. He is a work in progress and needs to remember the hurt of World Cup 2007 to ensure he isn't involved in such a disastrous tournament in the future.

Yuvraj Singh:
Only 25 and with a very mediocre test and ODI average, Yuvraj should immediately be made captain. He is likeable and a media darling and the added responsibility can only elevate his game. He hopefully represents a permanent fixture in the team and should be around for the next 10-12 years. Graeme Smith was made captain at earlier this age as have been Michael Atherton among others who have gone on to be good captains, so critics should not be alarmed.

OTHERS:

Mohamed Kaif:
Keep him in and around the team, his fielding is infectious and inspirational.

Romesh Powar:
Bollywood needs a good comedian and he is the answer.

Suresh Raina, Cheteshwara Pujara, Gautam Gambhir:
Give them loads of batting practice and someone should be working on ensuring India's younger cricketers can play county cricket in England, Australia or South Africa as opposed to facing predictable pitches and bowlers in the local domestic tournament.

And finally.....

Maruti:
Make him the team doctor, team counsellor, team journalist, team liason officer, anything just NOT team coach !!

Changing Nationality

Sigh...94 to win, 11 overs left, 1 man left...India heading home ?

Most likely but wait, oh look the Indian team has all appliedfor Bermudian citizenship and they have been granted it and havebeen drafted into the team and will play Bangladesh with a winallowing the other India team through !!!!

The cynics say the real Bermudians might do a better job and sothat is what the Indians have become, a nation willing onto atiny island !!!I

f there is ever a time to support Leverock and Hemp and Pitcherand Outerbridge and Hurdle it is NOW !!!!

Shob-ermuda !!!!

Bob

Regarding Bob Woolmer, the Pakistan coach who died a few hours ago.

I am saddened by the news and think life is so funny !

As I was telling Mom and Dad on the phone, imagine 3-5 days ago he must have felt he is going to the Caribbean, a nice little vacation, a break etc. and now he is on a LONG VACATION from life !!

And what is strange, from a destiny point of view, was his death the reason that Ireland had to win ??
Because Bob Woolmer had to die Pakistan had to lose ?
I doubt he would have had the heart attack had Pakistan won !

Anyway it doesn't matter the reason, all that matters is the result, and that is he is gone and his innings has ended.

God rest his soul.

Hot Fuzz (2007)

Hot Fuzz (2007)

It was inevitable after moving to England in 2006 that I would have to accept a few changes personally, professionally, and culturally. Among the latter I now look forward to the BAFTAs with giddy zeal, think that Hugh Grant and Sir Anthony Hopkins are the greatest actors of all time and that Helen Mirren and Dame Judy Dench are in a class by themselves. I also now see the unfairness behind Lord of the Rings pipping Harry Potter for all the awards in that “other” awards ceremony. And relevant to this piece I treat Hot Fuzz as a local film that is released here before making its way across to that other country across the Atlantic.

Hot Fuzz is almost as British a film as you can come across under the circumstance. The plot is simple on the surface. The finest cop London has to offer, Nicholas Angel, with an arrest record 400% higher than any other officer on the force gets sent to a place where his talents won't be quite so embarrassing - the sleepy and seemingly crime-free village of Sandford. Once there, he is partnered with the well-meaning but overeager and overweight police officer Danny Butterman who is the son of amiable Police Chief Frank Butterman. The rest of the small police force in Sandford is no better or any much smarter and this only adds to Angel's growing frustration. However, as a series of grisly accidents rock the village, Angel is convinced that Sandford is not what it seems to be and the feel-good citizens and well-wishing neighbors, and the perfection of the whole place brings an uncanny fiction to it. As the intrigue deepens it's time for these small-town cops to break out some big-city justice.

Hot Fuzz is definitely not a one-man show even though Mr. Simon Pegg as the super cop Nicholas Angel is out and out the one constant in the film, it is the performance of all the various peripheral characters that makes Hot Fuzz a tremendously enjoyable film. This is one of those films where the director’s and writer’s characters have more to do than the actual performers. Directing credits go to Mr. Edgar Wright, and interestingly writing credits are shared between himself and the main lead Mr. Simon Pegg, making it apparent why the on-screen product was hilarious, appeared natural and spontaneous, and will have you in stitches every few minutes. Both of these extremely talented gentlemen in their mid-30s had also combined for the famous Shaun of the Dead (2004) and continue to contribute to the mixed genre culture of films in recent times. Though Hot Fuzz is a comedy there is, at the same time, a mystery to solve, and bad guys to be found and dealt with.

I do suppose there is an added charm to the viewer if he or she has resided in England for some time or has some knowledge of certain cultural and social norms in this country, but even without being aware of the same there is lots to enjoy about this film for everyone. The story keeps moving fluently and crisply and the cinematography is absolutely beautiful, making the viewer feel as if he or she has a place in the sleepy village of Sandford. Though the character sketches appear hastily presented and somewhat sporadic, in the end it becomes apparent that it is not significant in the scheme of things to grasp to any individual as opposed to a general group. The humor is witty and dialogue delivery quaintly British, which undoubtedly adds to the overall persona of the film on the whole.

So is this a classic, a must-watch for all, a keeper for the DVD collection? Well yes, and no.

Unfortunately Hot Fuzz has a certain dimension that will sadly justify its R rating and 15+ UK rating, and this is the bizarrely sudden manner in which gross violence and blood splattering appears in this film. Though I personally might have edited this to ensure Hot Fuzz may be enjoyed by all ages and persons with weaker hearts and stomachs, I suppose there is a following of such pyrotechnics of blood that will actually nod their head in approval. Don’t get me wrong, the scenes are actually quite funny, in a twisted kind of way that is (I and only one other person were laughing when a boulder fell on a character’s head and blood was spraying out of the head with the velocity and volume similar to that of a burst fire hydrant). Having said that however, they do tend to appear suddenly and somewhat inappropriately and can make you jump rather vibrantly, thus adding to their fuzzy charm.

If one can remember that this is a comedy and the actions are exaggerated to stamp home the point then such visual atrocities can be overlooked and the film enjoyed despite those fairly graphic moments. Despite those 3-5 scenes nothing can be taken away from Hot Fuzz in terms of performances, writing, editing, intelligent humour, relatable and interesting characters and some truly laugh out really loud jokes and scenes. If most British collaborations and productions are this smashing by nature then I think it is going to be an immense pleasure viewing, reviewing and writing about such pieces of celluloid presentation.

Blood Diamond (2006)

Blood Diamond (2006)

There are the 4 Cs to buying a diamond rule and I used a parallel and inherently similar rule in deciding if I wanted to “buy” this “diamond”.

Cast, credits (writing, directing), cinematography, and cost (monetary and time) helped me decide whether this would be a film even worth giving a glance, and Blood Diamond easily passed the initial scrutiny.

Blood Diamond is set against the backdrop of civil war and chaos in 1990's Sierra Leone, and tells the story of Danny Archer, quite brilliantly depicted by Mr. Leonardo DiCaprio, an ex-mercenary from Zimbabwe, and Solomon Vandy, also rather superbly portrayed by Mr. Djimon Hounsou, as a Mende fisherman. Though both men share an ancestral continent, their histories are as different as can be, that is until their fates become joined in a common quest to recover a rare pink diamond that can transform their lives. While locked up in prison for smuggling, Archer learns that Solomon - who was taken from his family and forced to work in the diamond fields - has found and hidden the extraordinary rough stone. With the help of Maddy Bowen, played by Ms. Jennifer Connelly, an American journalist whose idealism is bordered by a deepening connection with Archer, the two gentlemen embark on a trek through rebel territory to make a journey that could save Solomon's family and fulfill Archer’s vested interest.

Starting with the first ‘C’, Blood Diamond notches top marks for cast. Mr. DiCaprio has certainly evolved as one of Hollywood’s underrated, somewhat over-hyped performers and it’s shocking to think of the variety of projects this actor has been associated with. From doing television shows such as Growing Pains (1991-92) and Santa Barbara (1984), to films such as What’s Eating Gilbert Grape (1993), Romeo and Juliet (1996), the immortal Titanic (1997), to some of his more recent and certainly mature and worth seeing performances in The Man In The Iron Mask (1998), Gangs Of New York (2002), Catch Me If You Can (2002) right up to The Aviator (2004) and The Departed (2006), here is a guy who has shown tremendous versatility and command of adapting to nearly any and any role possible. It will be interesting to see him play Theodore Roosevelt in Mr. Martin Scorsese’s 2008 bio-epic. Mr. DiCaprio portrays to near perfection his “Rhodesian” character, his dialogue delivery, accent, appearance and swagger are natural and though he has his filmy moments in Blood Diamond, overall you tend to relate to and root for his character.

If Mr. DiCaprio’s evolution paints a picture then Mr. Hounsou’s is an art gallery! Starting as an extra in the TV series Beverly Hills 90210 (1990) to appearing in blockbusters such as Amistad (1997) and The Gladiator (2000), this performer has grown leaps and bounds in the industry and his talent is on fine display in Blood Diamond. His emotions, down to every bead of sweat that drips from his determined face, and the forlorn expressed when he sees his son wielding a gun, are refined and spontaneous. It is evident that here is an actor who makes a director’s job extremely easy. The chemistry between the main protagonists is coherent and essential to the film’s progress and unintentionally represents the backbone behind the main plot.

The trilogy of the main cast is completed by the extremely talented Ms. Connelly whose Maddy Bowen exhibits possibly the most depth of the characters the viewers are exposed to. Though her role is peripheral and somewhat limited, Ms. Connelly takes her script and evokes an array of emotions from co-stars and viewers alike. Ms. Connelly, most noted for her roles in A Beautiful Mind (2001) and Hulk (2003), can add Blood Diamond to one of her better performances.

Directing credits are largely impressive as Mr. Edward Zwick is a gentleman of no small stature. Oscar winner for producing Shakespeare in Love in 1999, he has given us in the past such intriguing prospects as Glory (1989), Legends Of The Fall (1994) and The Last Samurai (2003), and with Blood Diamond he again delivers a good mix of action, mystery, drama, and deeper intellectual content. Unfortunately though Mr. Zwick’s editing team did leave a bit to be desired and the pre-climax/ climax could have done with some chopping. Some might say the actual introduction and development of the story was tedious and drew a lot of energy out of the viewer but one has to remember the story line and subject were not the easiest of fares and some time was inevitable in bringing the main course to the table. Mr. Charles Leavitt, better known for writing credits in K-Pax (2001), is commendable in scripting a sensitive subject.

Cinematography by Mr. Eduardo Serra is of the highest caliber. The former BAFTA award winner makes the viewing adventure rather realistic, be it the forest or the streets, there is no doubt that the viewer at times feels realistically immersed in the ongoing events unfolding on screen.

This movie is not for the faint of heart and at times the action can be rather disturbing, realistic and sudden and one has to be mindful of such. Seeing harsh realities can be a turn-off and many might feel a bit sick somewhere in the first 20-25 minutes, but credit to the director and cinematographer for being bold enough to portray such happenings as genuinely as they have. Perhaps a bit overboard I can concur with that statement but it was essential to portray the gravity of the entire theme. The only critique with that may have been the lack of mirroring gravity in the second half and towards the end of the viewing experience.

Time-wise and money-wise I think Blood Diamond is definitely worth a look-see, though some of the clichés presented, especially at the end, will leave the viewer not as attached to the characters and the cause as they would have been ¾ into the film. As much a fan I am of the cinematic experience, I think waiting for this one on DVD might actually be more practical.
As great an effort this was by the cast and production team, I still do not see it making a significant impact on the mentality and actions of individuals before they purchase a diamond, and if that was a benchmark that the film was trying to use to gauge its success then it may not necessarily be deemed one, but I think overall the film does increase awareness and raise some pertinent questions and asks us to introspect and debate and dabble further on the whole issue of whether you know where the rock on your finger has come from.

Taxi Number 9211 (2006)

Taxi number 9211 (2006)


With a catchy title, catchier tag line and two of the most physically mismatched actors in the Hindi film industry, it was no mystery that this film would surely turn out to be interesting. The fact that it was well made, well scripted, wonderfully acted out, and a pleasure to watch was a bonus.

Taxi Number 9211 tells the story of a taxi ride gone drastically wrong for a big shot, Jai Mittal, ably played by the extremely talented Mr. John Abraham. Added to his dilemma is the fact that the driver of the taxi, Raghav Shastri, portrayed by the even more talented Mr. Nana Patekar isn’t willing to forgive the trespass that Jai Mittal has made. Therein begins a turn of events that reveals how alike we are be it rich or poor, since we are all inherently human.

Mr. Nana Patekar is back with a bang after being in exile for a few years after the woeful Shakthi. His last few performances have once again shown audiences this actor’s tremendous range and versatility, from being the bumbling baddie in Bluffmaster, to the really badass baddie in Apharan, and now portraying the common day man Raghav Shastri, who is faced with the everyday problems that we all confront.
Mr. Patekar’s acting strength is how naturally he eases through all his scenes. Effortlessly like a hot knife through butter does he give life to his character and whether he is talking to his son or his wife, he is unpretentious, unassuming, and forever real.
There are too many scenes to mention in which Mr. Patekar is able to show us why he is one of the finest actors of all time, a comment I am sure will raise many an eyebrow, but I stand by it.

As physically unappealing as Mr. Patekar is, is how delightful to the eye is his counterpart in this film. A fine actor in his own right, Mr. John Abraham, in my opinion, remains grossly underappreciated for his work in Bollywood. He may be paying the price for being brave enough to tackle many roles and many subjects and many characters. He was good in Paap, Saaya and Elaan, bad in Aetbaar and Dhoom, comical in Garam Masala and a figment of our imaginations in Madhoshi, but this time he has shades of grey, and which way he will end up is best revealed at the end of the film. Mr. Abraham’s Jai Mittal is the perfect opposite of Mr. Patekar’s Raghav Shastri, the former being classy, suave, spoilt, and always somewhat lucky, while being totally connected to everything right and powerful.
There is some wonderful and pleasing chemistry between Mr. Abraham and Mr. Patekar and their performances have a synergistic effect on the film. Credit must go to the casting crew for this one. Mr. Abraham has again demonstrated he is a quality actor and his dedication to his work is evident in the maturity and ease of his portrayal.
Of the supporting cast none are as memorable as Raghav Shastri’s wife played by Ms. Sonali Kulkarni, another underappreciated and often over-looked actress who has fallen prey to choosing a wide variety of unglamorous roles. From her mainstream role in Dil Chahta Hai to her erratic character in Dansh, add this to one of Ms. Kulkarni’s sadly soon-to-be-forgotten roles despite the powerful depiction she gives her character.

Though vital in the story at the various points, the portrayals of Mr. Kurush Deboo as a vault manager, Ms. Sameera Reddy as Rupali, girlfriend of Jai Mittal, and Mr. Shivaji Satham as Jai's uncle, are all minute when compared to the main happenings going on in Taxi Number 9211.

Mr. Milan Luthria who has directed works such as Deewar (2004), Chori Chori (2003), and Kachche Dhaage (1999) has done a commendable job in keeping the story tight, and the entertainment enjoyable. Keeping Taxi Number 9211 at less than 2 hours running time while maintaining all the excitement, melodrama, and exchanges involved in a regular Bollywood film, is not an easy ask but Mr. Luthria succeeds greatly in doing just that.
Though many parts of the film are a lift off from the Hollywood film Changing Lanes, starring Samuel L. Jackson and Ben Affleck, I was pleased to see that it is not a carbon copy. Mr. Luthria was able to give an Indian feel to the movie and this is evident in the last 30-35 minutes of the film, right up to the end. These by the way happen to be the best parts of the film. Watch keenly the scenes from the part when Raghav Shastri walks out of the police station and hitches a ride with Jai Mittal, and then right up to the very end, and you will see why this is such a special film.

The music may not be ground-breaking but K.K’s “Aazmale Aazmale” is one of the most appropriate songs for the scene/ part of the film that it appears in. Hear the words carefully and you will see what I mean.

Taxi Number 9211 is a simple story with characters that walk, work, and live amongst us all. The movie is loaded with some memorable one-liners, superb acting, and great chemistry between the leads.
You may or may not be a public transport type of person, but I would strongly recommend you take this one cab ride.

Rang De Basanti (2006)

Rang De Basanti (2006)

Any Mr. Aamir Khan project is much anticipated and much awaited. This particular one won’t be easily forgotten.

Rang De Basanti revolves around a group of young adults from varying backgrounds who find themselves involved in a film project about India’s patriots from yesteryear. The fact that the project’s coordinator is a young lady from Britain only adds to the potpourri of characters that the audience is exposed to. At what point do the disillusioned youth of today find vision in the teachings of yesterday becomes the film’s destination. The film flirts with marrying history to the present, and eventually does, but in a very relevant and beautiful manner. Many colors eventually make Rang De Basanti what it is, but this is clearly a one-man show and it marks a welcome return for Mr. Aamir Khan.

The ace actor returns to the silver screen for the first time in a longtime as only an actor, not involved in his film’s production or direction or anything behind the cameras for that matter, like his last two films, Oscar-nominated Lagaan and Mangal Pandey. The focus and dedication is evident as Mr. Khan breezes though the roles of Daljeet (DJ) and Chandrashekhar Azad. It is hard to believe that almost 18 years have elapsed since we first saw Mr. Khan dancing around trees and telling us he hasn’t planned anything for his future as a college student in his debut film Qayamat Se Qayamat Tak.
His maturation as an actor is laudable and it is no surprise that he is the heart and soul of Rang De Basanti. Mr. Khan makes Daljeet his very own and after a while Daljeet becomes your very own. One cannot imagine any other actor in the role of the protagonist and like a great player it is actually Mr. Khan who makes his surrounding cast better than they probably are. He raises the bar and to their credit, the supporting actors and actresses are on par.
Mr. Khan will make you laugh, make you cry, and every young person who is disillusioned about their country or life for that matter will know that Daljeet is a reflection of their very self.

Mr. Siddhartha is the other notable in the film, portraying the troubled son of a rich industrialist, Karan, as well as Bhagat Singh in the flashback scenes. Once an assistant to famed director Mr. Mani Ratnam, Siddhartha enters his first Hindi film with a restrained performance; just the perfect foil for Mr. Khan. His get-up, eye expressions, and emotions are as sincere as his performance.

The remaining cast members have each given worthy performances. Mr. Sharman Joshi as Sukhi and Rajguru, has grown from his days and roles in Shaadi No. 1 and Xcuse Me. Mr. Kunal Kapoor as Aslam and Ashfaqullah Khan has come a long way from his small role in Meenaxi, and it is notable that he has also served as an assistant director on Aks. Mr. Atul Kulkarni as Laxman Pandey and Ramprasad Bismil is fast growing as a dependable and regular character actor in Bollywood. Ms. Alice Patten as Sue is probably known for her work in a few TV series in Hollywood but her Hindi delivery for Rang De Basanti is good and her chemistry with Mr. Khan is also rather natural. Ms. Soha Ali Khan as Sonia and Durga Vohra really gets to show her acting skills towards the middle and end of the film and her role is significant in terms of progression of the story though her minutes on screen may not amount to much. The special appearance by Mr. Madhavan as Captain Ajay Rathod is also vital to the film and cannot be ignored. Mr. Madhavan remains a fine actor who is sadly under-used in Bollywood. Other cast members include some heavyweight names such as Mrs. Waheeda Rehman, Mr. Anupam Kher, Mrs. Kiron Kher, Mr. Om Puri, Mr. Lekh Tandon, Mr. Mohan Agashe and Mr. Steven Mackintosh and all do justice to their small but valuable roles.

Direction is provided by Mr. Rakesh Omprakash Mehra, a man known more for his ad-film works than his last project, the 2001 supernatural thriller-caper Aks, which starred Amitabh Bachchan and Manoj Bajpai. Though he may have missed the mark with Aks, there is no repeat of that this time, as Rang De Basanti is spot on!
Mr. Mehra shows great directorial skill in ensuring his film flows smoothly and at a good pace. Not once in the narrative does the viewer suffer from boredom and the build-up to the climax is both enthralling and enticing.
The first half of Rang De Basanti is a bit slower than the second, and it may best be described as the dealing of the cards before the actual game begins. With many characters, each of whom is important in the overall scheme of things, Mr. Mehra spends great detail in showing the intricacies of the relationships and the complexities of the idiosyncrasies that the “cards” are bringing to the table.
In the second half the pace picks up, things start happening and the finished product’s beauty is revealed.

One of the most impressive aspects of Rang De Basanti is the way it shows the spirit of rebellion transcending time and age with such a “real” feel to it. Throughout the film you can see how the young adults depicted could be anyone of us today and their lives mirror the kind of lives the youth of today lead - namely a self centered and materialistic existence where ideas like patriotism and making a change are strictly the stuff history books are made of.

Technically the film is brilliant. The scenes from the past and present are juxtaposed against each other, rendering a unique slick treatment, which serves to showcase the slow change in mindset and attitude that overcomes the group through the process of the film. The film thus doubles as a narrative on the changes in perspective and values the young adults go through as they shoot for the film project headed by the British young lady.

Mr. Renzil D’Silva’s screenplay is au naturale and as perfect as can be.

Music is by the talented and luminous Mr. A. R. Rahman and is very appropriate for the film. The songs ensure the story maintains the viewer’s curiosity without ever seeming like a drag and added to this all is the unique “Rahman” stamp of perfection.

Rang de Basanti is a youthful drama, yet light hearted in moments, while tackling a rather serious underlying theme. It is as brave a project as the characters and incidents that make up the colors of this beautiful Bollywood rainbow. I can predict many awards for this film and if you are into intelligent cinema then you are sure to enjoy the “Rang De Basanti”.

Wealth and extravagance and then some...

This was my response to a chain of emails about how people especially celebrities tend to have "filthy displays of extravagance" !!
--------------------------------------------------------------------------------
Couldn't help but make a foray into the cyber-discussion.

I think Uncle Mathur has touched on such an interesting point. The mention of "medium" is the key. Don't we spend our entire lives seeking a medium, a balance? And who is to decide what that balance is?

I ponder about the ties that wealth, financial that is, shares with balance. It seems as if the less money one has (especially to waste) the more "balanced" they are. And vice-versa the wealthier do seem so much less "balanced". (Except Bill Gates, but that is a TOTALLY different discussion).
And it’s all relative too.

I think I am balanced because I don't strut around planning 7 day weddings or those that will cost 65 million dollars, but alas for Rayshawn Bright, a 7 year-old who can't find his parents and siblings after Katrina, and Halima Ali Anjum, who shared the same fate, only post-tsunami, I am "wasteful" for driving a SUV, buying some of the latest running apparel and putting aside finances for a forthcoming project. My filthy display of wealth allows me to eat out ever so often, spend endlessly on computer games and have over 1000 CDs and DVDs of "intellectual" things such as Shah Rukh vs Hrithik: Dance-a-thon!! But really, am I wasteful? No. My dog doesn't have an 8000 dollar collar ala Britney Spears and my last vacation didn't cost 175, 000 dollars ala Paris Hilton. Unfortunately to Rayshawn and Halima I might be perceived no better than those two. (Perhaps I am better looking and have a better body then them, wink)

Just when it seems there is no end to the stupidity, or extravagance, or as Uncle coined it "filthy display of wealth". Well actually there is. Death.
Spender, waster, enjoyer, hedonist, grinch, complainer, intellectual, socialite, miser, Chatwal, Mittal, Hilton, Rayshawn, Britney's dog, all will one day be on the same playing field: the pages of history and memory.
The wonderful song from Kabhi Kabhie (correct spelling, since the Chopra's want it like this) says it beautifully and I loosely translate: "tomorrow there will be better listeners than you and better orators than me...I am a poet of a moment or two, my story is only a moment or two, a moment or two is my status, my youth is also a moment or two".

And so beautiful is life because in that "moment or two" we must all find a balance between inner peace, happiness, hedonism, intellect and salvation and in my humble perhaps naive opinion that alone is the real wealth one should seek, and can afford to "display" with sheer extravagance.

Regards,
SRM

Some more reviews...

MOVIE REVIEWS (WEEK ENDING 24.09.2005)



40-YEAR OLD VIRGIN (SAMICO: 9)

If you are into crass humor and really enjoyed Wedding Crashers then here is that movie’s younger, kinkier, and hotter sister!

With more laughs than you can probably handle and never a dull moment, this film will have you rolling on the ground during certain scenes.

“Virgin” tells the story of Andy Stitzer, who has a nice life complete with an action figure collection and a cushy job at an electronics store. But the only thing is he's a 40 year old virgin who has just fallen in love with a woman, who doesn't want sex in the relationship. Uh oh!!

What was most impressive about “Virgin” was that all of the main characters had a certain depth to them and each represented something that the viewer will surely relate to.

The film is generally fast-paced and the story moves along at a prolific pace. The side-kick characters definitely add a lot of pizzazz to the presentation and are vital in their small roles.

Either you will REALLY like this film or really despise it, but give it a crack, maybe you too might start cheering for the “virgin”.



RED EYE (SAMICO: 1)

This was supposed to be a different kind of film from horror master Wes Craven. What it turned out to be was an average fare with some potential but rather shallow content.

The story revolves around an assassination plot surrounding Homeland Security Chief Keefe who is checking into a hotel where Rachel McAdams is in charge of his stay. She is met on a flight home to Miami by a mysterious man (Cillian Murphy) who decides to tell her to call her hotel and ask them to switch Keefe’s room or else at his behest someone will kill her divorced and retired father. How McAdams stalls and then eventually tries to save the chief and her father form the obvious end.

Rachel McAdams gives a good performance and Cillian Murphy is devious as the executive assassin, but apart from the suspenseful chemistry shared by our leads on the “Fresh Air” flight, there isn’t much else to wonder about the film.

The end is predictable from a mile away and its short running time of about 80 minutes means that the suffering isn’t that great.

Easily an avoidable venture, but if you must, wait for it on DVD.



THE LONGEST YARD (SAMICO: 2)

A remake of a film of the same name from the 70s, TLY doesn’t offer much in terms of variety.

Basically a story of a group of convicts who are challenged to a football game by the chief of the guards. Though no Super Bowl is at stake, pride is.

Adam Sandler breezes through the routine and fits the role well. Chris Rock is restrained and surprisingly not irritating. Burt Reynolds makes a cameo and James Cromwell rounds off a fairly illustrious cast that also includes rap-artist Nelly, wrestlers Dalip Singh and Bo Sapp, and ex-footballer Michael Irvin.

Some of the jokes are laugh-worthy but most of them are ordinary.

Watch it if you are a sports fan, an Adam Sandler fan or both, like I am.



MY WIFE’S MURDER (SAMICO: -1)

Anil Kapoor, Nandana Sen (of Black fame), newcomer director Jijy Phillips and an attention-seeking title all made for a potentially enthralling film. After watching it I would probably rename this flick “My Mind’s Murder”!!

Socially irresponsible, a poor script, and shallow underdeveloped characters make for a film that should be put in the pharmacy in the sedatives section.

Anil Kapoor does what he has done a million times and plays a man caught between a rock and a hard place. When he kills his wife by mistake he tries to hoodwink the law, his children, and even his conscience and that basically forms the last 80% of the film.

Suchitra Krishnamurthy as the annoying wife who gets murdered is in a blink-and-you-miss-me role. A far cry from the days when Shah Rukh Khan ran after her in Kabhi Haan Kabhi Naa (1994) singing “Anna meri aana”, this time Krishnamurthy is deglamorised but effective.

Nandana Sen’s poor diction and even poorer pronunciation of Hindi make her annoying, and we wish the film was titled “My Wife and my Assistant’s murder”!!!

Boman Irani, as the detective investigating the crime, is the only saving grace in this otherwise torturous affair. His character with the voracious appetite and the wife who can’t cook to save her life has the meatiest role, pardon the pun. Even then Irani’s character and his obviously strained marital relationship are given a whole 2 minutes in this 110 minute venture.

Showing how the murder is carried out and how Kapoor covers it up was in my opinion rather socially irresponsible and then with the ending making it seem alright for such an occurrence adds to the social dilemma it places. As we remember the demography of this film’s viewers one wonders whether this was a good idea. I guess it could have been worse.

At no point in the film will you form a bond with any of the characters though during the last 20 minutes as Kapoor goes on the run with his two little children, it will be their peril and confusion that may tug at your heartstrings. When it’s all over you won’t be sure whether you are glad that the children are saved or that the film has actually ended.

Some parts of MWM do salvage it though. Artistically it wasn’t that bad, without any songs there were no hiccups in the narration and running at less than 2 hours was a great plus.

I would avoid this one unless you are an Anil Kapoor fan.



VIRUDDH (SAMICO: 6)

Amitabh Bachchan is back at it, showing his diversity and range and teaching the younger ones how it’s done. Mahesh Manjrekar’s latest offering is another piece that has Manjrekar written all over it.

The story is of a retired couple living in a suburb of Mumbai who deal with the death of their young son when he is murdered and then wrongly framed as a drug dealer.

Viruddh is a story very simply told and makes you feel as if you are watching your neighbor go through the plight that Vidyadhar Patwardhan (Bachchan) and his wife Sumi (brilliantly portrayed by Sharmila Tagore) are experiencing.

The first half of the film revolves around Bachchan and Tagore and their chemistry is amazing. If you are someone whose parents live apart from you and by themselves, especially in India, then this is what you are missing. The friendly fights of who didn’t take their chronic disease medication to the problems with loud, inconsiderate neighbors and the elderly group exercise sessions as well as the once-weekly phone call from the child abroad!
All scenes are so natural that for a while you do feel as if you are peering into your neighbor’s window.

The second half may be the let down of the film. It tries, unavoidably, to pack in too much into it. From the return of the son abroad (small but well-played performance by John Abraham) and his bringing home a “foreign” girl (debut performance by Australian-Indian VJ Anusha Dhanedar) to the eventual murder and wrongful framing of the son, and the inadequacies of the Indian police force make it too much to digest in the 65 minute half.

Mahesh Manjrekar is known to tackle social ills, and effectively at that, in his films. In Viruddh he gets caught between trying to depict elderly parents dealing with a tragic loss and an Indian legal system that deals with corruption in a mediocre, at best, way.
All in all though, the effort is commendable.

Amitabh Bachchan is way above the rest and he eases through this film with a sincere and restrained performance. This one might be the one to bag him an award, despite his heavyweight performances in Black, Sarkar, and Waqt. Watch especially the scene where Bachchan tries to perform laugh-therapy yoga but can’t.

Sharmila Tagore compliments Bachchan perfectly as the retired school principal who has a much stronger personality than her good-natured husband. She gives a sedate performance generally but turns it up a notch when needed to, for instance dealing with the loud mechanics.

John Abraham is charming as the son. He continues to be a very impressive performer with great versatility, and a face that probably makes razor blade companies shudder as he promotes the unshaven look. Anusha Dhanedar is tolerable in her debut film and Sanjay Dutt has a small but pivotal role which he does well.

The narration is aided by no songs, a culture that seems to be widely accepted in Indian films today, and the screenplay and cinematography are good.

Based on strong performances and good interactions between Bachchan and Tagore this is a venture worth a look-see, despite the somewhat clichéd end.



MATRUBHOOMI- A nation without women (SAMICO: -10)

Lots had been said about this art film and I was very excited when I finally, after waiting a while, obtained the DVD.
By the time I was done, and as I type this, I am trying to obtain some anti-emetics.

Many people feel taking a sensitive issue and then making a film on it guarantees the film will be appreciated and garner many awards. But when an issue such as female infanticide is presented in such an amateur and poor way, with little research, embarrassing screenplay and script, and even worse acting, it is an insult to those who have suffered the ill-effects of the topic at hand.

Matrubhoomi starts off really well, that is the first 3 minutes, and then from there on till it ends some 81 minutes later it’s all downhill and even lower and FAST.

The story revolves around the injustices inflicted upon Kalki, the only female living in a string of villages, as a result of presumed female infanticide and how she tries to overcome the perils. Her problems start when her father, for the sake of money, sells her to get married to five brothers, and while she is there she also has to withstand conjugal visits by her father-in-law too. She gets punished for trying to run away and is imprisoned in the barn with the cows. While there she gets raped multiple times by multiple persons including the brothers. Eventually she gets pregnant and that leads to confusion as to who the father is. A subplot of caste differences lead to a gang war, as different people claim fatherhood, and almost everyone but Kalki is killed off. She delivers her child, a girl (surprise surprise), in the climax.

Not only was the acting horrible but the entire script was despicable. Tulip Joshi as Kalki, the so-called protagonist, had almost NO dialogues. Her looks should have said it all, but that was asking too much.
The rest of the cast were a bunch of art film actors who made no lasting impression on anything or anyone.
The characters had little to none of exactly that. Going into anything more would be giving too much time and credit to the film’s technical department.

The backdrop seemed very unreal. Apart from Kalki, the film literally had ZERO females. I find it very hard to believe that she was the only female in that stretch of land and space.

On the DVD cover the film boasts of bagging foreign film and people’s choice awards in Italy and Poland, prompting me to wish my films, when I do make them, NEVER are given that privilege.

The only memorable moments in the film, apart from the end credits, were the scenes with the constipated priest and the low-caste servant who gave him his urine in the form of lemonade to drink.

In hindsight, if I was given the choice I might have rather drank that lemonade than watched Matrubhoomi.