When You're Speechless

Speechless-review:

Dhobi Ghat [Mumbai Diaries] (2011)

directed by Kiran Rao

Watch. This. Movie.

NOW.

You watched Karan Arjun? Whadda joke!

You watched----- REVIEW:
Karan Arjun (1995)

No matter how entertaining he can be in crash-boom-bang masala films like Dabangg, I cannot, and I probably won't ever be able to, take Salman seriously when he tries to "portray" a "serious" character.

In this one, like in many others, it's a mixture between "serious character" and flashing his naked upper body (which though wasn't just as over-pimped as it is today, in my opinion). He does well in dealing out blows, but as it has become a habit of his when playing "serious characters", he uses his "so-low-and-calm-because-this-is-a-serious-character"-voice, that I already mentioned in my review of Baghban. 

Neither has this been one of Shahrukh's better performances, even though he's cute and sympathetic as always. In one of the first episodes of Koffee With Karan, he said that he admired Kajol for only having chosen to act in films that she truly believed in and wanted to do. You can see that in Karan Arjun: while Shahrukh exaggerates a lot, and sometimes seems quite fake, Kajol is wonderful as always, even in this trash-pearl.

In the last (and first) episodes of these new reviews, I wrote about Koyla, coincidentally happening to be directed by Rakesh Roshan as well. Now, Karan Arjun is not as bad as the first-mentioned, but the image of Rakesh, that I used to have in my brain, is slowly bursting... Kaho Naa Pyaar Hai and Koi Mil Gaya are two films that I watched in the start time of my Bollywood-madness, and I love them so much. Even though there are some trashy aspects to especially the first one, I didn't see them as trash-bash-films, but more like... well, "normal" Bollywood films for their respective years. Krrish was also okay. But now, after watching Koyla and Karan Arjun, I don't really know what to think of Rakesh. Is he the king of so-bad-they're-good 90s flicks, instead of mainstream-but-fun 2000+ films? Help!

Okay, last but not least: something that Koyla had, and Karan Arjun didn't... really.... have - good music. Almost every song in Koyla is really good (90s-good), while there was only one song I liked in KA. But that one, on the contrary, was not only good, but really, really good - especially speaking picturization. 

So, here it is, the famous "Jaati Hoon Main" - enjoy!

Rating: 3.4

Thank you for reading, 

Mette M. K.

Raavan (2010) - A Wet Experience

I've made some changes to the reviews, just some slight ones, but I like them more now. I also checked, if there were some "faults" in the old posts, like pictures that aren't showing.

Raavan (2010) रावन

Director: Mani Ratnam

Authors: Mani Ratnam, Vijay Krishna Acharya

Starring: Abhishek Bachchan, Aishwarya Rai-Bachchan, Govinda, Vikram

Plot: When a new police inspector comes to "their" village, the people living in the woods kidnap his wife, their leader being the animal-like Beera. However, Beera is not able to kill Ragini, the wife, and takes her to the home of the wood-people, where he finds himself falling in love with her.

Hidden Plot: Mani Ratnam tries to interpretate the Ramayana in a revolutionary way, discovering the good side of Raavan/ Beera.

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I'd been wanting so watch Raavan for such a long time now, and it has (as always) been wonderful to be satisfied by a film that you've had high expectations to. After reading some reviews, I had feared a Saawariya-vu, but no, my Mani didn't let me down - he never does. 

The film starts out perfectly already, with the genial "Beera", which was the only track I listened to before watching the film. Nothing unusual - I often can't relate to a soundtrack without having seen the film, even if the music is Rahman. Funnily, I'd say the soundtrack is one of the best 2010-BW-soundtracks, after having seen the movie now... I've listened to it the whole day. Every song is magical in its own way, the only one I don't like that much is "Kata Kata".

Wet, more wet, Raavan... Almost felt like a two-hour-shower.

Moreover, almost everything about Raavan is magical - which obviously is quite beneficial for a film inspired by an old religious tale. Never does anything definitely magical happen, but the interaction of Santosh Sivan & Manikandan's camera work, Rahmans music and Ratnam's concise but playful direction creates a sensation of mystery that captives the viewer.

Abhishek Bachchan said that he lost confidence after Raavan flopped, and criticized the editing on twitter, as soon as it was clear that the film was a flop. To me, the flaws are not to be found in the very fitting editing, but in Abhishek's performance, which admittedly was bumpy in parts. He did gain the sympathies of the audience, but on the other side, many of his reactions are hard to relate to, for example him being unable to kill Ragini, or the sudden love that he develops towards her. Of course, this is written in the screenplay - and I actually like these rather un-realistic reactions, as it is supposed to be some kind of a dark fairy tale, or at least a mythology-inspired film, but Abhishek fails in portraying this in the right way - at least sometimes. After hearing a lot of praise on Vikram (who plays the inspector in this one) 's portrayal of Beera in the Tamil version Raavanan, I'm eager to watch that one.

Yes, it was also raining in that scene... or something else... at least there was water...

Aishwarya Rai (yes, I know: Rai-Bachchan, but there's no melody in that), however, does not have these problems, being perfectly cast for the role of the bewitching, fearless-seaming Ragini. I think it was a good choice to cast her in the Tamil version as well. Even though there's not much room for real romance, the on-screen chemistry between Aishwarya and Abhishek is very nice, even though many people don't think so and find they shouldn't continue doing films together, "just because they're married". I also cannot imagine Mani Ratnam would cast two actors in the same film just because they're married. 

As in every other Mani Ratnam film, everything seems to be thought-out to the smallest details, and the best is just good enough. For example, Aishwarya's costumes were designed by sophisticated designer Sabyasachi, which indeed added to the magic of the film, and the film was shot at various outdoor locations all over the country. 

Only little frustration was the lack of depth in the characters - we never really get to know them or their backgrounds, so it's hard to relate and build a bond to the main characters.

Otherwise, Raavan included all I had expected: art, magic, great music, entertainment and new-wave-flair. Thumbs up.

7.5/ 10

Thank you for reading,

Mette M. K.

Salman Khan in a very special role - Review: "Baghban"

BAGHBAN (2003) बघ्बान

Title-Translation: "The Gardener"

Director: Ravi Chopra
Authors: B. R. Chopra, Shafiq Ansari, Satish Bhatnagar, Ram Govind, Achala Nagar
Starring: Amitabh Bachchan, Hema Malini, Paresh Rawal, Lillete Dubey, Salman Khan

Plot: Baghban is the story of a family, a story about three generations, living together: When Raj retires, he and his beloved wife decide, they'd like to stay with their children, whom they haven't seen very frequently in the past years. But the children don't respect their parents the way the should, acting selfish and dignity-less.






Written the 22nd of May 2011
The Chopras - will anyone ever be able to produce films as heartwarming, lovable and just-at-the-edge-of-kitschy films as theirs? While I wasn't literally overwhelmed by Ravi's 2006 acclaimed "Baabul", his 2003-superhit "Baghban" was very enjoyable. I had to get used to it, though - at the beginning, it was very "Is he trying to be the next Karan Johar, or what?". There are many similarities to be drawn between "Kabhi Khushi Kabhi Gham" and "Baghban", and I'm not just talking of Amitabh Bachchan as the head of the family. Both films are primarily about family, love and respect. But where K3G is epic and, let's face it exaggerating (!!!), "Baghban" is more simple and relatable, though also not quite as remarkable and well, epic. Whatever - it is a very different film.

Sweet, sweeter, Hema-Amitabh

Before I start with the good things about "Baghban", let me first mention those I did not like:

1) Salman Khan. Salman is someone I can only enjoy in special moods. He's perfectly in his very element as Chulbul Pandey, and that masala-chili-action police officer did make me laugh, dance and have a good time - but. Salman is not a good actor in the classic way. Or, at least, I haven't seen that side of him yet, if he does have that side. It's just not him; in "Baghban", he's doing that "so-low-and-calm-because-this-is-a-serious-character" voice, and come on that's not what I call good acting. Sorry. Actually, Shahrukh Khan was offered this role, but he turned it off - sadly. And all of this wouldn't have bothered me as much as it does, if Salman wouldn't have been introduced with the letters: "Salman Khan in a very special role". Might be the role was special - but Sallu's performance was just the opposite.

The 2) component that didn't please me was... the music. Talking of introduction: introducing a Holi song with techno sound?! I doubt it. You won't get anyone dancing by that taste-disorientation. Chali Chali did have a nice refrain, but the only reason it seemed to be nice is that the other songs were this bad.

Phew - now, let's focus on the nice sides of the film.
Hema and Amitabh. Two wonderful actors, still doing a wonderful job today. Their portrayal of the elderly, deep in-love couple was sweet as the first strawberry in summer (funny expression... you know, I'm so happy it's going to be summer soon!).
I'd even recommend watching the film just for those two - Amitabh's face when he sees Hema tying her blouse: fabulous.
Off course, there is some honey-dripping kitsch-pie included, like when Raj calls Pooja on the phone and starts singing, or just all those letters they keep writing to each other. By the way: I want a type writer.
The actors who played the children and in-laws are not mentionable - except for Divya Dutta maybe, but even she was rather forgettable, which is unusual.
Paresh Rawal and Lillete Dubey as the funny side-plot Gujarati couple were both lovely, and Rimi Sen, in her first role, also wasn't bad (where is she these days?).

Bad, worse, daughter-in-laws

What really interested me, was the story, and how it can be applied on the western society as well. So many people (also grown-ups) have never learned to respect their parents, and the amount of old people is increasing steadily, here in Europe. Most of them live in nursing homes, there are very few who live with their children. It's sad, in a way.

"Baghban" took everything a little over the top, but that's what it had do, otherwise it wouldn't have worked out. Separating your own parents - how gruesome is that? Especially for someone whose parents are divorced, I personally found all of this very inhuman, indeed.

However, there's a little minus point more: "Baghban" has a double-moral. The children who didn't want their parents to live with them, are really bad-ass, but on the other hand you can understand why they hesitate, because they don't have large mansions or bank accounts (in contraire to the "good" son Alok).
Or Rimi Sen's character, who runs around in mini-skirts, which is not liked by grandma - and yes, grandma is right: Rimi gets touched by some guy she flirted with, and she doesn't like.

But on the whole, "Baghban" did have a positive impact on me, and I would recommend it to those, who can bear some manipulating and conservatism, if the rest is lovable.

Rating: 6.6

Thank you for reading, Mette M. K.

You watched Koyla? Bloody fool!

You watched----- REVIEW: 

Koyla (1997)

Okay, by calling this a mini-review, I would be seriously exaggerating.

Why didn't I write a real mini-review then?

Well, I'm really exhausted by all those summer tests we need to write at school, and also, this is pretty much all I can say about Koyla.

So that's what it feels like, when you admire a soundtrack for years, and then finally decide to watch the film. You're disappointed (even though you've been warned by the friendly Gaja Gamini).

... Or are you? I feel that, somehow, this film was not disappointing on all levels. At least regarding its incredible hilariousness. Every time (the late) Amrish Puri stepped in front of the camera, I had to go through some serious laughing-attacks. The very best was his Hinglish accent, and that a-w-e-s-o-m-e "Bloody Fool"! Now, that's hard to beat in its funniness. 

I did ask myself: "Was all this meant to be? Or did the makers think they were doing something great, or even just "good"?". Considering the fact that it was made by Rakesh Roshan: Yes, that's my guess. The title has his lucky "K" in it, so, yeah, I think he was very confident about this film.

But honestly: Whatever! That's how the best trash pearls are born, right? 

The true saviors of the film, though, are Madhuri and Shahrukh. Madhuri, because she's sweet, sympathetic and magical as always, and Shahrukh, because he was ... how do I say this... hill-hill... ah, there it is: hilarious. 

What a strike of genius, that they managed to create some song & dance scenes with a mute character. 

While many other 90s-Shahrukh-flicks are unbearable and of the "see-once-because-of-him-then-forget" kind, Koyla does have great potential to become a classic. I mean, a "so-bad-it's-good"-classic, off course. 

Rating: 2.9

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This post is part of The Madhuri Week, hosted by Gaja Gamini from bollywood-ish Blog.

And before I forget: Please check out the trailer for the cannes-featured documentary "Bollywood - The Greatest Love Story Ever Told" and spread the word, if you haven't already. (We fans want to watch!)

Thank you for reading,

Mette M. K.

I have to watch this

No comment. Just watch the video. And don't read the rest, until you've seen all of the video.

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Just heard about it yesterday...

Oh my god, can you believe this? James McAvoy starred in an English cross-over film that probably just wanted to surf on the Kick-it-like-Beckham-wave!

... I have to watch this!

Luckily, one of my friends, who's just as crazy about him, as I am, already agreed on watching it with me.

This is so exciting.

It's been a long time since I watched one of those mediocre British Bollywood-imitations.

But I think it's the closest I'll ever get to one of my favorite actors in an Indian film.

What do you think? Has anyone watched it yet?

The Good, The Weird, The Awesome - Triple Mini-Review

ACTION REPLAYY - EK CHALIS KI LAST LOCAL - ANARI

That I would end up writing about these three films in particular, in one single post, was nothing I had had in mind when watching them. They were just coincidental views, films that I bought because I was curious and had heard about them. It's funny that Ek Chalis Ki Last Local was the only one I had been wanting to buy for a long time, the only one I watched even though it wasn't the first one of my new films, alphabetically - and the only one I ended up not liking, plus being disappointed by.

Anari and Ek Chalis Ki Last Local have currently received the exact same rating at the IMDB: 7.3/10. Both are Parallel Indian Cinema, Anari was a Superhit with superstars, directed by disinguished Hrishikesh Mukherjee - Ek Chalis Ki Last Local was a Flop with "normal" actors and directed by debuting director Sanjay M. Khaduri. Now, Action Replayy is something in between, starring two big Indian stars, but receiving a Below Average rating from the box-office, a 3.9/10 rating at IMDB and being directed by a unsuccessful but commonly known director (Vipul A. Shah). 

Differently from my other mini-reviews, I won't divide this one into the different films, but into categories and compare the films this way.

Who's who?

Just to clear this at the very beginning - without revealing my deepest thoughts, which I will do at the end only; 

The Good: Action Replayy (2010)

The Weird: Ek Chalis Ki Last Local (2007)

The Awesome: Anari (1959)

Story

Many people pointed out, that the main idea of Action Replayy seemed to be stolen from all-time-classic Back to the Future, which in some ways is true, but the story actually is very different. Still, this does not make it more original; I haven't heard or read anyone mentioning this before, but the plot is very similar to 2007 German tv-production Küss mich, Genosse! (IMDB). I don't appreciate story stealing at all, so in this category, AR does worst. One of the problems about Ek Chalis Ki Last Local is, that there doesn't seem to be any story at all. A guy misses his train at night, has to spend two hours in a village and meets a girl. Boring, and hard to make a good screenplay of (which I also don't think they did). 

The sad-funny story of a poor young gold-hearted man, who doesn't seem to have much luck by his side is typically Raj-Kapoor and 50's Indian cinema - so it's not hard to decide, who wins in this section.

Screenplay

As already said, ECKLL's screenplay doesn't count to the best ones made. The love story is minimally interesting, but all other plot lines didn't catch my attention at all, which is also why I turned off the DVD player after almost 2 hours. Off course, I could have stayed through the last 30 minutes, but I really couldn't stand it any longer. 

AR takes us on a bubbly, coulourful 70s-trip and manages to never let boringness slip through any giant screenplay-holes. How nice.

Everything in Anari can be classified as either interesting, amusing, or entertaining - in one word: as Raj Kapoor. Therefore, as in every other category, Anari wins.

Cast

You (and I) already know that no one can beat Raj Kapoor, but as I'm not the most versed person concerning actors from the 50s, I'll tell you what I thought about my first meeting with Nutan. I was very pleased by her performance, her wittiness and beauty, which reminded me strongly of Kate Winslet. Along with Raj Kapoor and Lalita Pawar, she is the person that makes Anari shine. -- If you've been following this year's Deol Dhamakka, you've most certainly read my (only) contribution to that event (if not, read it here). In that post, among other things, I tried to express my love to Abhay Deol, which thankfully is still untouched after watching this film. He was lovely as ever in ECKLL - thank god. An item song in Heyy Babyy was all that I'd seen of Neha Dhupia until ECKLL (and Action Replayy, for that matter), but she does look promising, even though I think there's much more she can, than what I've seen yet. 

Aishwarya Rai, I don't think you're the Queen of Bollywood, like Western media often tries to call you, but nevertheless what you are is: definitely already one of the finest actresses of this decade, one of the best dancers after Madhubala and Madhuri Dixit, and one of the most beautiful women I've seen. Akshay Kumar is... well, I think he's one of the most sympathetic actors I know, and also he can make the worst movies and still not loose me as his fan. He can also look incredibly ugly in films, and incredibly 70s-fashion-victimy - never will my affection for him die.

I think we can agree that all of these films could mention some worthy names in their credits, and that all of them did a good job.

Music

One of the reasons, and also the most important one, that I wanted to watch ECKLL, was not Abhay Deol, funnily. Around the releasing time in 2007, I had one of those periods where I listen to all of the latest Bollywood soundtracks, and immediately fell in love with this one - three years before I even watched my first Abhay-film. Laree Choote features a wonderful singer and is very intense, Ekka Chauka is funny and fast, Akh Ladiye is a great example for a disco-background/underground-track - shortly: I love the soundtrack.

Also Anari  was discovered by me through its music, namely when I listened to some of the songs that won a Filmfare Award for Best Singer. The song I'm talking about ("Sab Kuchh Seekha Humne") really is one of the best ones I know, combining satirical lyrics with the awesome singing talent of Mukesh and an interesting melody. But also the other tracks are fabulous and will stay on my mind (and iPod).

Though I listened to the music of AR before, I only really liked it in the film. The best tracks are Zor Ka Chhatka and Nakhre, while Baaki Main Phool Gayi can only be described with 9 letters: h-i-l-a-r-i-o-u-s, believe me. However, this soundtrack is the weakest, compared to the other two.

Title

Ek Chalis Ki Last Local = The Local Train That Went at 1:40.

Unusual title, but in the end just as totally meaningless as the film itself.

Action Replayy = Action Replay 

Fits the story, but the second "y" is just as annoying as stolen from Heyy Babyy (2007).

Anari = Idiot/ simpleton

Brilliant title, brilliantly used in the film.

Camera (Cinematography)

After all those camera-experimental films, filled with 1-second-shots, dizzy-making rotations and shaky hand cameras, a 1959 classic black-white motion picture can feel like a supreme vacation (inlcuding virgin pina colada). Long, clear-shot scenes, no distracting eastman colour, grainy quality... I am sighing with relief. One may notice, that ECKLL is also shot in a rather quiet and non-distracting way, but a little more bang-bang would have been nice due to the boring screenplay. I'd like to mention the kiss scene though, which was not only well-performed but also beautifully captured.

The poster of Action Replayy already says that the film is shot "IN EASTMAN COLOUR", and that's also what you NOTICE when looking at the poster. 70s slam-tam-bamboo-banga eastman colour, that's what this film is made of. Sometimes the camera setting is very mainstream-music-video like, for example in the song Zor Ka Jhatka, but otherwise very fitting and a good contrary to category-winner Anari.

In a nutshell... (Lucky-Nut)

Action Replayy: 

I expected a long-drawn, exaggerating, very below average film with some good songs.

I saw a never-boring, exaggerating, very entertaining personal-hit (with some good songs).

Ek Chalis Ki Last Local:

I expected a satirical, unusual, surprising film with a cute Abhay and a great soundtrack.

I saw a boring, art-housy-bad, uninteresting and weird film with a cute Abhay and a great soundtrack.

Anari:

I expected a Raj-Kapoor-film.

I saw a Raj-Kapoor-film.

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Let's end this post with a little smile:

"Marriage, now? We've only just sung a duet song!"

(Akshay Kumar in Action Replayy)

Review: Dil Toh Baccha Hai Ji [3 Idiots and... Love]

DIL TOH BACCHA HAI JI (2011) दिल तो बच्चा है जी

Title-translation: "The heart is still a child"
Director: Madhur Bhandarkar
Author: Madhur Bhandarkar, Anil Pandey, Neeraj Udhwani, Sanjay Chhel
Starring: Ajay Devgn, Emraan Hashmi, Omi Vaidya

Plot: Naren moves back to his child home - his parents are dead. Because the house is so big, he searches for some tenants and finds them in a shaadi.com employee, who'd like to be a poet - Milind - and the unemployed fitness teacher/ toy boy Abhay. All three of them have problems concerning love: Naren is attracted to a 17-years younger intern, while Milind falls in love with a radio VJane, interviewing him after a poet contest. Meanwhile, Abhay indulges in the luxury of being toy boy an ex-Miss-India, when suddenly he falls in love with her (grown-up) step daughter.



Written the 13th of March 2011
Madhur Bhandarkar is known for experimenting in his films, trying out unusual tactics, and establishing his actors welll (I'm talking about Fashion, Traffic Signal, Page 3 and the only film I'd seen from him until now: Corporate). With DTBHJ, he's jumping into the genre of rom-com for the very first time, this time with two well-known actors plus Omi Vaidya, who could already bring home the bacon in 3 Idiots. Besides, we have three until now rather unknown ladies. The male cast is one of the evident powers of the film, while it's possible to discuss the female part: In a unusual role for him, Ajay Devgn earns sympathy as charming pencil pusher/ male Naina (the one from Kal Ho Naa Ho). He also proves, that his otherwise nice voice isn't exactly adequate for singing.

Take a look at Emraan's trousers... 

Can't have everything. Shazahn Padamsee plays his "Object of Desire" - and here's the first crossroad we have; she's looking sweet, she's charming, her acting is all right, and I might be able to get used to her squeaking voice. Sadly, I also know, that most people won't be able to do that, and also they won't be able to accept her (current) lack of "X-factor". That's why I can already see her undergoing the same destiny as Kim Sharma and Esha Deol . That is, unless people are so attached to her, like for example to Deepika Padukone (and I'd rather see Sharma or Deol instead of her), that she can make it somehow. If that is what'll happen, I hope she takes that chance and get's it right.

Rumour has it, that Madhuri Dixit has been thrilled by Emraan Hashmi's portrayal of the usual Casanova-role, and as always, I agree. It's especially nice that he's able to portray this character in a slightly different filmic level than otherwise, and I think I'm not alone with that thought. Even though the main theme of the film is sex (and not love, though I bet the makers wanted it to be love), the level isn't drowning as much as it uses to in similar films, but stays near Sex & the City (a show/ film that I like, but don't idolize). Only huge minus is caused by the distinct discrimination of homosexual persons, which is much more conspicuous than in Anjaana Anjaani for instance. A "reputable" filmmaker does not need this, especially with a film, that's quite entertaining otherwise. Then there's one sentence at the beginning, about the life of Emraan's character Abhay, which should have been edited away quickly - just like the rest of those "introducing" sentences. Not working here; the audience doesn't like to be treated as if it's totally dumb or stupid.

I also wasn't very fond of Abhay's big love, Nikki: She pitches herself as a big charity-lady, and talks about original Indian qualities - in born-and-bred Hinglish?! Face covered with make-up, wearing an outfit that doesn't even have a touch of traditional Indian clothes? Furthermore, we never get to know her very well, which is why the sudden falling-in-love also lacks a fundamental credibility.

Somehow, I also don't have big problem with the age
difference. Reason: It's mentioned (!).

The "Hinglish-source-of-irritation" shows up in a different situation as well, namely when Milind recites his poems, which seem to be "good" only because they're in Hinglish. Not a patch on Hinglish, I don't see a big problem in using it, but however there are circumstances, under which its usage is rather semi-optimal. Apart from that, Omi Vaidya is adorable and cute - by the way, I was surprised that I liked his "Dream Girl" Gungun, played by Shraddha Das, somehow. She was indeed both honest and fake, and very capricious against him, but she just had something. Perhaps Shraddha Das just comes with a bigger portion of talent than the rest of that female guard, but I'm not able to tell after one film only.

What I liked about the film was, that it never became "uncomfortable", you were (almost) never ashamed, and that despite this... well, not very fancy story. Just one scene at the end got one or two soap-opera-splashes too much. I don't want to tell you to much, but to the makers: a little less dharamdham, when someone tells his/her girl/boy friend, that he/she has fallen in love with someone else. Better let the still piano go on. Apropos music: The soundtrack is okay, nothing special, but nice.

Then what is my conclusion, now... Let's put it this way: You can see this film, but you don't have to. In the field of films-named-after-great-songs, it delivers a much better performance than many others, like for example Aashayein (2010).

Rating: 5.0

Thank you for reading,

Mette M. K.

Review: Love Aaj Kal [Now and then there's a film such as this]

In my posts, there has never been a big focus on music, and though this one won't be any different, you can drag from the post title the information, who one of my favorite artists is: Elvis Presley. Well, mostly until the end of the 60s, after that he was never the same. But that's kind of Off-Topic.
As filmygirl shared one of her older reviews with us (read), I decided to follow her example by digging up my review of 2009-hit Love Aaj Kal... wait a minute... no, that's too new, I'll post that next week or so... hey, I didn't even know I... oh, yes, here it is - finally.

LOVE AAJ KAL (2009) लव आज कल

Title-Translation: "Love These Days"
Director: Imtiaz Ali
Author: Imtiaz Ali
Music: Salim-Sulaiman (score) and Pritam
Cinematography: N. Natraja Subramaniam
Starring: Saif Ali Khan, Deepika Padukone, Rishi Kapoor

Plot: Love Aaj Kal is about the love in modern times. Meera and Jai are in love and have a nice relationship, but when both get job offers in different countries, they agree about putting career over their love. From London, Meera moves to India and Jai to San Francisco. Both find new partners and seem to be happy, but the longing for their lost love is still hidden under the surface. Jai slowly realizes this, when he meets Veer, an old-generation romantic, who had to fight for his big love Harleen.



Written the 14th of August 2010
2009 really was a year of change for Bollywood. New ideas came up, there was more experimenting - also caused by the financial crisis. It was "in", to dare something, to try out new things. "Love Aaj Kal" seems to mark a counter trend at this point. After opening a window of fresh air for the indian film territory with "Jab We Met", it seems as if Imtiaz Ali became greedy. Greedy for success and money (which "Love Aaj Kal" actually did bring in), and therefore, he wanted to play it safe. What was earned with "Jab We Met", is spent on stars, costumes and sets for this film.
Imtiaz Ali does the opposite of, what Karan Johar does: Karans films were very pompous and extensive to begin with (but still good), now he keeps up with the times by reducing the glam-factor a little. If "Love Aaj Kal" would only be half as good as "K3G" or "KKHH", but it isn't. However, the film wants to impress. Saif Ali Khan is, to be sure, witty and sympathetic as ever, but his naturalness has vanished after his latest beauty surgery. And Deepika Padukone, whom I did like in "Om Shanti Om", has been on the list of rather bad newcomers since "Bachna Ae Haseeno", at least speaking of more critical audiences. She's a beauty, no doubt, but I would recommend staying away from the acting business (if not, stick to smaller roles). Then they added a story that's only fancy concerning the on/off phenomena, which hasn't been discussed in too many movies lately. Pritam has also composed better stuff before... one or two songs less wouldn't have given the film any damage.
Off course, there are positive aspects as well; the parallel story of Veer and Harleen is quite cute and makes the film a little more interesting. Likewise, Rishi Kapoor and Neetu Kapoor-Singh are always nice to watch [new comment: I'm not so sure about Rishi anymore, after seeing "Deewana"], especially Neetu hasn't been seen for a long time (longer than I've been on this earth). And last but not least, the film is enjoyable - you don't need to use your brains very much, and you can look at either Saif or Deepika. Laugh a little, or even cry a little (depending on your mind)... cineatic fast-food, that is. But for all that, there are better fast-food-fillums.

Rating: 4.4

Thank you for reading,

Mette M. K.

All Good Things Come In Threes

Mini-Review of Deepa Mehta's Element Trilogy:

FIRE - EARTH - WATER

This is just my third mini-reviews-post, while the amount of normal-review-posts is 12 at the moment. I could say I'm proud of this, and I am somehow a little bit proud, but let's not forget that there's a certain virtue in writing/ reading mini-reviews, too. As for writing, it's clearly that you 1) don't need to write that much, 2) can write about more than one of your recent views and 3) can combine films that resemble each other in some way or another. 

For this (falling due) post, I chose to present these three films by Deepa Mehta, as they are not only my most recent "Indian" views (I, personally, categorize them as Hindi-Films, and therefore also as Bollywood, but others might not; the language in "Fire" is English, for example), but also three films that will stay with me for quite a while, and that are majestic epics to me (just like the quote on the "Water"-poster says - by the way, just because I call them this, doesn't mean they're my favorite films, but you'll notice what I mean, when reading the reviews). Finally, it doesn't happen very often that I borrow Indian DVDs from my library; they don't have many, and I've seen all of them - so I get really excited, when I find new ones. Actually, they had all three films in a collector's box, so I got even more excited. My weekend was saved (it was last weekend, so this post is a little behind schedule). Okay, I wish you a nice weekend, and hope you enjoy reading.

Fire (1996) फायर

I forgot to mention, that these were my first Deepa Mehta films (except for "Bollywood/ Hollywood", but that one wasn't really mind-blowing) and "Fire" was also my introduction to Nandita Das. 

The eye-catching thing about Deepa's films (except for B/ H) is that sedate, but still rebellious atmosphere, which is also how I think she is in real life (I saw some of the bonus material on the DVDs). The actors are of big importance in this connection, and it doesn't surprise me that she likes working with the same crew, or some of them. It's needless to say that Shabana Azmi and Nandita Das are magnificent, but I'd like to mention Javed Jaffrey as one of the impressive Indian talents we sadly don't hear enough of. 

Though I couldn't identify with the main characters on all levels, - and this is not about being lesbian; I was almost able to identify perfectly with two well-known cowboys - "Fire" is a great film dealing with a dateless problem. Also, it's a perfect match for Deepa-Mehta beginners, for the language is primarily English. As the other two films, it has a length that eases the question of when to watch it.

Rating: 7.3

Earth (1998) अर्थ

Earth is, until now, my favorite Deepa-Mehta-film. Why? Again, it's a matter of the identification; I said I was almost able to identify with those cowboys - but I have felt perfect identification with heterosexual characters in other films, so that's one of the reasons, and as for "Water" - the film made me feel angry, irritable and helpless, and especially the last feeling isn't my favorite thing to feel, so even though it was a great film with a superb screenplay, story, cinematography etc., "Earth" was the one film that'll stay closest to my... soul or heart, or whatever. 

Maybe it's the good old triangle-drama, newly-invented almost each year, which made a new impact on me, maybe it's Nandita, Aamir and Rahul, maybe it's the universality of the context; not everyone is homosexual, not everyone is a widow/ widower - but in every human soul we find, in whatever dimension, weaknesses, desires and brutality. 

Rating: 7.8

Water (2005) वाटर

According to Wikipedia, "Water" is a Canadian film, which brings us back to what I wrote at the beginning: I don't blame anyone for seeing these films as Canadian productions, or whatever else, but for me they are not only Indian films, but because of language and setting: Bollywood. 

One might also notice, that while the characters in "Fire" speak English, and in "Earth" a misc of English and Hindi (not to be confused with Hinglish, though), "Water" was filmed in Hindi, completely. 

As I already mentioned in the foregoing review, "Water" didn't leave me with the most desirable feelings. More clearly: this Gulabi and Madhumati were so freaking annoying, while both Kalyani and Chuyia - and Narayan, for that matter - were so freaking naive, that I really got some exercise, baling my fists or doing other aggressive movements. The subtitles for deaf people were also annoying (though I do speak Hindi, I don't feel secure enough to watch a film entirely without subtitles - what if I miss a word and then don't get the meaning of the whole scene?), but there were no normal subtitles.

But even though the nice A. R. Rahman music was always announced as "happy music", "romantic music", "playful music" etc., and even though it didn't kill me softly (in the pos. way), it was a nice score - but only nice, just as the film was, well, nice. 

One of the best things was the cinematography... Varanasi was captured in an almost poetic way, like a poem, I'd say, without having been there. I don't want to bash the movie, though: many people will probably like, or even love, it - and I can't say why not; the actors are superb, the story is fresh and not boring... but as I've told you now, it just wasn't made for me. So this rating is entirely subjective and not about the objective greatness of the film - because in an objective way, it is great.

Rating: 6.4

Thank you for reading,

Mette M. K.

Review: Jhootha Hi Sahi [The truth about JHS]

Getting back to the old fashioned "review:"... I can't really decide how to title my reviews, as you might have noticed. However, after watching the horrible "Thoda Pyaar Thoda Magic" (2008) on TV yesterday (and it's so typical they send this kind of stuff - we have to maintain the "Bollywood image", right?: kitschy, unrealistic, naive + bad special effects), I needed something better. We have two Bollywood magazines in Germany, whereas one is just G-R-E-A-T and the other one is quite new and needs some improvement. However, the improvement-one published a review on "Jhoota Hi Sahi" and it was not very positive, so reading it, I thought: "No, you're getting this wrong - this is a good movie!". But then a voice in my head said: "Well, you haven't seen it, so how will you know?". I can't explain, but don't you sometimes have that feeling of knowledge, like you really know that a film is good? You don't hope so (as for Dhobi Ghat, I do), you just know. However, every thesis needs to be proved for becoming a theory. Read the results of this experiment, exclusively, right here at Lime Reviews.

JHOOTHA HI SAHI (2010) झूठा ही सही

Title-Translation: Part of a song from 1970's Hindi classic "Johnny Mera Naam". Means something like "True or false/ Even if it's false"

Director: Abbas Tyrewala
Authors: Pakhi Tyrewala & Abbas Tyrewala
Starring: John Abraham, Pakhi Tyrewala, Raghu Ram, Madhavan

Plot: Siddhart (Sid) owns a book shop in London, together with two of his friends. He stammers in front of beautiful women and his relationship to girlfriend Kurtika is going south. Then, one night, he gets called up by unknown people, all wanting to commit suicide, calling him "dost" (friend). A suicide helpline has by mistake published Sid's tlf. number as theirs, and they ask him to help out a little, if anyone calls. Sid agrees, and gets called up by Mishka, a beautiful girl that he will meet in real life too - after having told her about his great, exciting life...




Written the 5th of February 2011

"Jhoota Hi Sahi" is one of those films that have been getting highly mixed responses. A large part 

Johnny-boy and Pakhi

of the bad opinions alludes to Pakhi Tyrewala, who portrays one of the two main persons - and who also wrote the screenplay. I consider this as a big accomplishment and think she made a really good job. Mishka, one of the two main characters, seems natural, if you look away from the fact that she was trying to kill herself and then gets happy so fast. This is though rather a fault of the screenplay, as the part when Mishka gets happy with time has not been given enough time. But never mind, everything else goes perfectly, and a few nice, unexpected twists are included in the screenplay (I don't want to spoil anything by telling them now). 
You could find your self asking: Why did they choose an end that everyone would expect? Well, if it was an art film or anything else that fits into the definition of "we-don't-want-anything-regular", this question would be qualified. But you can watch "LSD", if you want an indie-end.


I also must mention the supporting actors, who took a lot of the seriousness away by being serious (Nick? Well, he was serious about marrying Aliya). A small disappointment was that Anaitha Nair had such a tiny role, but Alishka Varde made a good female entertainer, too (did you know that my Danish guest family lives near a town called Varde?). As most newer films, "Jhoota Hi Sahi" tries to be open-minded concerning sexuality, and though there never actually are many sparks between John and Pakhi (also a small disappointment-factor), the film manages better than one of its concurrents, "Anjaana Anjaani", at least not insulting gay people. The two gay guys cater for some amusement, but never in an abusive way. Adjacent to Pakhi, John Abraham portrays the second main character, and he has never been more cute and lovable, ever. Not later than in the scene when he admits that he remembers Mishka "thodaa-saa…?" (a little…?), you really want to have a little Sid-bear that you can hug (maybe I should name on of my teddies "Sid" - it could be this Sid, the Ranbir-Sid and the real Sid, I mean the Telugu one).

And my Pakhi once more

The soundtrack of this film has been on my iPod for quite a long time now, because it's not possible that I miss a new soundtrack of my sabse-favorite composer & singer, Rahman. Some people call it boring, I call it a "1000-times-better-than-Blue-Soundtrack" that gently tiptoes into your heart. A little bit like the film, they are a good match, indeed. The credit for this also goes to Abbas Tyrewala, for he assembled all these people and made something cozy of it. Cozy is actually the perfect word for describing the film: It isn't the Blockbuster-type and it's not weird enough to be described as one of the ongoing experiments that are attacked to the silver (or laptop/ computer/ tv) screens at the moment. I already said that I like change and experiments, and that a good film always needs to include something fresh and new. So off course, this film has got something. But what is "Jhoota Hi Sahi" in the end?


The truth is: "Jhoota Hi Sahi" is, what many want to be, but only few are - a perfect rom-com (which is already imperfect by definition). 

Rating: 7.0

Thank you for reading,

Mette M. K.

Guzaarish - The Visual Review

MAY CONTAIN SPOILERS!


This is a new kind of reviews that I'm going to try out... It's kind of a mixture between fun post and review post, so, well, I hope you like it. "Guzaarish" was a great choice for trying this, I think, because it's a very visual movie. (Off course, I write comments on each picture).

Aish is great in this film... Do I like or hate those glasses?

As always, in SLB-films, the sets are huuuge and... somehow beautiful

Beautiful... I want to go to Goa!

Not the best picture to pick for showing Hrithik the first time... This is only a dream sequence.
But I just wanted to say: Hrithik also dances in Guzaarish! Yeah!

Funniest scene in the film... And as this is no comedy, it was laughable enough.

Awww... Are they not a cute couple? Though it showed off a little more in Dhoom 2.

It was also a dark film...

A very good and beautiful actress with a very not-so-good and not-so-beautiful actress.

Also this untalented man shared the screen with Aishwarya and Hrithik.

He's cute, but he can't sing.

Ok, here we see Hrithik... and untalented man doing magic.
The magic thing was actually the worst part of the film. Too "Saawariya"-gic.

That's Hrithik in his best shape... A great performance of him, he has deserved many awards for this film.

One of the most awkward scenes... What's she doing in that palace (maybe it's a SLB-"house"?), and why is she sitting on the floor?

Is Hrithik the new serial-kisser?
Emraan better watch out!

This hat also reminded me of "Saawariya".
But I like Aish's scarf. The film is nice here.

And now it's not nice anymore.
Didn't like the court-scenes, maybe because the actors were bad. I mean, look at his "expression". This is acting-ki-kindergarten.

Or maybe because she's a part of them... I don't like her. At all.

Nor do I like him. I don't think I like any of the "supporting" actors.

But then, there's always Hrithik (and Aishu).
Why did I take that screencap, actually...? Don't remember.

Hrithik looks evil, woooo...
Actually, this could, like, be the Cover of "Jesus of Nazareth".

We meet my favorite actress again at the end... She looks loveable on this picture, though.

And my favorite actor. Just wanted a nearer shot of him, so you could really take a look on his pretty hair.
 He probably wants to look like that guy from High School Musical.

Drama-king Bhansali at his very best... I almost cried here. Really.

But this was too much, even for a drama-loving person like me, who likes High School Musical.
(I do, this is not a joke).
I'm sorry, you failed at the end. Make it better next time, Bhansaliji.

Though in a nutshell, this was an ok movie, and I regained my faith in you.
Let's just forget everything about "Saawariya".
And next time, I hope that you're back like in old times.

Thank you for reading/ viewing,

Mette. M. K.