1001 Movies: Heart-shaped sunglasses, greasy hair and suntanned gladiator's legs

#183, a re-watch and #184

Choosing Kubrick's version of Lolita to celebrate the new year cinematically proved to be a perfectly wonderful choice. Provoking as well, to watch the story of an adult falling in love with a 14-year old in the year I'm going to turn into an adult (expectedly). My journey in 1001+ movies continued with a reunion and revision of my thoughts on one of the most-loved musicals ever (Grease), and yesterday's historic trip to slave revolts in ancient Rome (Spartacus) had me forced to finally write about these three movies (as one of my new year's resolutions was to write about each of the book's movies I'd watch).

Lolita (1962)

„[KUBRICK] MANAGES TO DELIVER A PICTURE EXACTLY AS EROTIC, ABSURD, OBSESSIVE, ERUDITE, AND LOW-COMIC AS THE BOOK.“            

THE ROCKY HORROR PICTURE SHOW and THE PERKS OF BEING A WALLFLOWER

Emma Watson playing Sam in

THE PERKS OF BEING A WALLFLOWER

playing Susan Sarandon playing Janet in

THE ROCKY HORROR PICTURE SHOW

So, what is this post all about? That's a good question.

I think what made me write the above and find the above picture was a vague feeling of "I need to write about a great movie". And I honestly think that The Rocky Horror Picture Show is one of the best movies I've ever seen. As usually, those are the movies I find it hardest to write about (coughDrivecough).

Why do I mention Perks again here, then? Obviously, as those who have seen the movie know, there is a strong connection between the two movies, as the gang from Perks are big fans of Rocky Horror and make a kind of show of the movie. And without Perks, I'd probably never have seen Rocky Horror... or I guess I would, but not that soon.

Another connection between the two are the soundtracks. What lingered with me after both movies were the songs, the melodies that made my heart jump and dance with joy. Bowie's "Heroes", The Smiths's "Asleep", and that one special line; "Don't dream it, be it". 

I often find myself day-dreaming about it, ironically. Although I don't think it's about not-dreaming, but about doing what you want, not what others want - like Janet and Brad, who are probably just what their parents and society wants them to be in the beginning. 

The message therefore also resembles that of Perks in many ways - don't dream it, be it. Be what you want to be. If you want to be a dreamer, be it, if you want to write, write, if you want to be gay, be gay.

So, two paragraphs and I think I've written all there is to write. But perhaps there's nothing more to be written. Perhaps all you can do is to get out (of here) and just watch the movies. 

Kind of "Just do it". (Another of my favourite mottos).

Shabd: To Cherish an Illusion or Not To

India, 2005

Shabd

Directed by Leena Yadav

Written by Leena Yadav, Sutapa Sikdar

★ Aishwarya Rai-Bachchan, Sanjay Dutt, Zayed Khan

         

2005, Northern Germany: a little girl lies on her bed, looking through her collection of fashion magazines and listening to her currently favourite song, Khoya Khoya from the movie Shabd. She has been listening to this song for at least the past four weeks, watching the trailers of the movie in an infinite loop, and she can't get any of this out of her head. How perfect this movie seems to her! If only she had the chance to see it somehow, but it's hard for a little girl in Northern Germany to get her hands on a copy of a newly released Indian movie. Especially one that flopped.

That's How You Do Tragedy

India, 1957

Pyaasa - प्यासा

 "Thirsty"

Directed by Guru Dutt

Written by Abrar Alvi

★ Guru Dutt, Waheeda Rehman, Mala Sinha

        

Sight & Sound, Time Magazine, Indiatimes and the critics and audience of yesterday and today - Pyaasa enchants everyone. It has been one of my top must-see-films, ranking as high as The Godfather, Fight Club and Kill Bill did in their respective times. So I put myself together and figured that my goal of seeing more (especially Indian) classics fit the fact that youtube has become a great source to watch these for free. (Link for this movie).

What can I say; of course Pyaasa is as fantastic as everyone says. It's the tragic story of the poet Vijay who is first neglected by his family, love and the publishers, and finds his only friends in the prostitute Gulab who adores his poems, and a poor massager. But the tragedy doesn't end here, for of course Vijay and his first love who is now married, meet again, and Vijay detects that there is more cruelty in the world than he would have ever imagined.

Essential Hindi Films: Lagaan

Three of my various personalities discussing a milestone of Hindi film history.

Lagaan: Once Upon a Time in India (2001)

Directed by Ashutosh Gowariker | India

Written by Ashustosh Gowariker, Kumar Dave, Sanjay Dayma, K.P. Saxena

★ Aamir Khan, Gracy Singh, Rachel Shelley

    

Why is Dil Se my favorite movie? or All the things I love about Dil Se..

"Philosophy is not about finding the answers, it's about asking the questions".

- My philosophy class book.

Dir. Mani Ratnam | India
★ Shah Rukh Khan - Manisha Koirala - Preity Zinta

          

Any great movie could be my favorite one, a thought that made me shiver of fear when I first tried to put together my 100 Favorite Films list. But it happened to not just be any movie, but a movie that had followed me through many years and that has never stopped intriguing me every time I watch it. 

Having finished the list, there was suddenly no other movie I could imagine, that could be my favorite. The thought surprised, even unsettled me - after all, I hadn't actually seen Dil Se.. for about two years. It was time to finally re-watch it with eyes that are quite different from the ones of my 13-year old predecessor. 

I was scared but also excited. And you know what? I feel I admire and love this film even more than I did before. Dil Se.. is not flawless, objectively speaking - so what makes it so special to me?

That's what I want to find out in this post, namely by listing all the things I love about this film. Of course I won't be able to fully understand and explain the greatness of this film, I know that - but it's an attempt that I have to do. And an excuse to make a lot of screencaps.

ALL THE THINGS I LOVE ABOUT DIL SE..

The oldest Indian film I've seen

MOTHER INDIA (1957)

Epic/ Melodrama

Directed by Mehboob Khan – Written by Wahajad Mirza, S. Ali Raza, Mehboob Khan

Starring Nargis, Sunil Dutt, Rajendra Kumar, Raaj Kumar

The 54-year old classic has been overdue on my watchlist for a long time, so yesterday I finally pluck up courage and flung my DVD into the player. After all, it's the first Indian film to be nominated for an Academy Award (it was also India's first submission ever). Plus, it's one of the two single Indian films included in the famous "1001 Movies You Must See Before You Die"-book.

Realizing I'm not used to these overlong Melodramas anymore, I took a break at the Interval, finishing the whole thing this noon. Fun fact: the film is actually shorter than K3G, MOHABBATEIN and many tomes from the turn of the millennium.

Band Baaja Baaraat (2010) - Make Love Not War

I have the feeling I change the review layout every time I write a new one...

Band Baaja Baaraat (2010) बैंड बाजा बारात

Director: Maneesh Sharma – Authors: Maneesh Sharma, Habib Faisal

Starring: Anushka Sharma, Ranveer Singh

Plot: After college, Shruti and Bittoo build up a wedding agency - however, they break their personal ground rule: no love in business.

Hidden Plot: Classic Hindi cinema is reinvented in a fresh, modern way.

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NB: May contain spoilers (though I'm sure you know them already, even if you haven't seen the film, so read on if you want to).

+ I wrote this review in the middle of the night, so it might not be linguistically perfect.

My Bollywood lean time is finally, finally over - it ended with a big BANG yesterday night (this review was written 2. August).

The "Bang" is also known as Band Baaja Baaraat, one of the most celebrated hits of the previous filmi year, that I have been literally dying to watch (!). 

After a sad misunderstanding with my father (I was sure he was going to give it to me as a birthday present), and my unsure-ness about ordering DVDs from India to Germany, the German Bollywood specialist label Rapid Eye Movies released the film here in Germany, so I ran out to the store to buy it. As I have watched the film with two cultivated German ladies, who otherwise love opera and similar, I can truly recommend it for convincing people that Bollywood is great. At least women, I don't know about men - and their filmic taste shouldn't be too elitist, however.

BBB is at the same time just as good as I had expected and also maybe even better. It's hard to decide, honestly. It is at any rate a fantastic film that has been needed badly.

I have personally "grown up" (first "met" Bollywood when I was 9) with the classic 90s and early 2000 blockbusters like Kuch Kuch Hota Hai, Kabhi Khushi Kabhi Gham, Main Hoon Na, Yes Boss etc., all of them very colourful, funny in a cute way and of course, romantic. Today, the times have changed, and a film like KKHH wouldn't work today as it did in 1998. But that doesn't mean we have to forget those old times, or leave them behind - BBB is the proof. 

Yash Raj is back on track - but this time, everything is a little more realistic.

The film is just as colourful, funny, cute and romantic as my childhood classics, and the story is similarly easy to see through. This description may turn a lot of people off, especially the ones with the very elitist taste, that I mentioned before. I do have traces of that elitist taste in myself, probably because I taught myself to be like that - read avantgarde or very classic books and watch a lot of arthouse films. However, there is a part of me, the part that loved the films when she was young, that longs for those films, makes me re-watch the "old" favorites every year and enjoy them so much. 

This part of me does not have a brain in the common sense. Yes, she can turn the brain off. Isn't that just wonderful? And practical? It was she, who made me watch Band Baaja Baaraat. And I am forever thankful to her. 

A scene that truly impressed my fellow audience was the kiss scene. "How natural, how tasteful, how magical!" - those were their words. And I can only agree. That kiss might be the best kiss ever made in Indian cinema. 

"Ainvayi Ainvayi" - already a classic amongst Fans.
Did I mention that BBB is colourful?

So far, I think that Anushka Sharma delivered her best performance yet in BBB. Her character does have many layers, which is unusual in romantic comedies - at the beginning, she just seems like a business-minded power woman without any feelings, but as the film goes on, we can see more and more of who she really is. The kiss is a wonderful example for that. Shruti leans to Bittoos shoulders, which shows her being herself the first time - tired, vulnerable and searching for someone to lean on, literally. We also see how afraid and inexperienced she is, when the kiss is approaching, and how long she has kept many of her feelings locked inside. I can only say it again: the kiss scene is incredible. Not only because it really makes you blush (the only other scene [in an Indian film] that made this happen to me, was the famous Kaminey one), but also because it is so essential for the whole film and the characters. We also get to know Bittoo a little better, somehow. Well, I'll stop now - maybe I am interpreting too much into films.

The soundtrack of BBB is also similar to my childhood favorites - a mixture of songs for different moods and occasions, one or two really haunting melodies, and some forgettable ones. Important is, how the songs are realized on screen - "Ainvayi Ainvayi", the Shaadi Mubarak song, "Aadha Ishq", the sometimes happy sometimes sad love song, "Tarkeebein", the background song" and "Dum Dum", the Item number/ mega Bollywood song. And not to forget the Theme Song, "Band Baaja Baaraat", which also only appears in the background. I was especially impressed by the choreography for "Dum Dum", even though it is incredibly unrealistic, especially in context.

Kudos to Maneesh Sharma and Yash Raj Films! I wish the former mentioned good luck with his further career in Mumbai, and to YR I'd like to say: welcome back!

BBB is already a favorite, and I want to recommend it to every living soul - though I do know that not everyone is going to love it as much as I do. If you do love the film, and maybe interpret as (too) much as I do into it, then Cheers!

(A lot of exclamation marks in this review - I'm sure F. Scott Fitzgerald would only shake his head at me).

Rating: 8.7

PS: Yes, BBB does have faults - but child-me didn't see them.

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Thank you for reading,

Mette M. K.

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.

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.

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: Arundhati [Ties of blood or "Khoon Chala, Khoon Chalaaa"]

- This review is not critically intellectual or similar, as this is my first Tollywood film. But don't get used to it, I'll try to avoid writing like that. -


PS: I'll be on mini-hiatus for the next 4 days - I'm on a class trip/ politics simulation from Mon-Thu.

ARUNDHATI (2009) అరుంధతి


Director: Kodi Ramakrishna
Author: Ramana Chintapally
Producer: M. Shyam Prasad Reddy
Music: Koti
Starring: Anushka Shetty, Manorama, Sonu Sood


Plot: This film revolves around three generations. Arundhati is going to marry Rahul, so before marriage, she visits her native village. One night, she receives a phone call from Rahul, telling her that he's in fort Gadwal. But when Arundhati enters the fort, that is said to be haunted, the horrible past of her great-grandmother Arundhati, called Jejamma, fusions with reality and a fight of good against evil is once again held.


Written the 12th of March 2011

I chose "Arundhati" for "debuting" in the Telugu film industry (Tollywood)... It's been several months now, that I'm maundering about watching more regional Indian films, and I had actually thought I was going to slowly "train" myself with Siddhart's Telugu films. But I'm very happy now, that I chose this film. Despite the fact, that I'm certainly not very familiar with this film industry, I think that the film is a good representative, and a good beginning for inexperienced people... of a curious nature. That's because it's just totally exaggerating - but it's still good.
 I haven't seen The House of Flying Daggers, sadly, but that's why I bursted into laugh seeing that drum dance sequence. Oh yes, colourful scarves playing the drums... Additionally, there's tons of pink-looking blood, a good-looking, but evil because of evil voice Sonu Sood, and a lot of mythology. Plus a language, that I do not understand at all. I felt drawn back to the starting time of my passion for Bollywood, at least I thought, that I probably felt quite similar at that time. Thrilled, though not as thrilled as I was by Hindi, which I began learning very quickly, I listened to the dialogues and admired the squiggled letters. I learned one word already, actually: "Raa" meaning as much as "come". Leading actress Anushka Shetty, whom I obviously do not know ("Arundhati" was not only my Telugu debut, but also only my second south-Indian film, after "Bumbai"), fitted her role perfectly, but if she's really talented, I can't tell, as her role consisted of over-acting, mostly. 
Same for Sonu Sood, but as I already know him from other films ("Dabangg", "Jodhaa-Akbar"), this performance of his is only another plus point. It's namely quite different from his other roles. All supporting actors were all right, most of them over-acting grandly (by the way, does the fakir speak Hindi sometimes - it seemed as if?), only the fiancé is quickly forgotten.
Music... the aforesaid drum dance number did actually impress me, beginning very still and vulnerable, but then getting angry and fast, which is a great achievement of the singer. Otherwise, I don't recall any other fancy songs. 

Now, let's focus on the last point: Special-Effects. Honestly: I found them very brave. Many Indian films of this kind just focus on "scary" background score or similar, but here they really tried to build a mythologic world of horror. Seemingly, they didn't have the best technical facilities (or maybe it's a matter of the budget), but just that giving-it-a-try made an impact on me. It is trashy, but lately I often find myself as a fan of (good) filmic trash, so nothing of this was annoying to me. Rather amusing and entertaining. And about the blood; well, though I had already often read reviews and articles about south-Indian cinema, I was still "surprised" by the floods or seas of blood, but I had a sense of humour about it. Yes, that's absolutely possible. Especially, when the blood is pink.
Okay, the coconut-stoning was really a little crass, but you can look the other way for a while.


You see, I could write much more about this adventure of mine, but particularly I can recommend it to everyone, except for the weak minds. As I've read somewhere: "Do something you haven't done before, every day". A great advice, and I try to follow it, really. Of course, watching an unknown film also counts, that's something new as well, but why now get over yourself and jump into the cold water of a new film industry? (PS: A Hindi-remake of this one is also planned).

Rating: 7.1

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.

Review: Tere Bin Laden ["Habibi, George Bush!"]

As an exception, there's no fun post or anything like that between this and the last review (expect for the Lime-Stars notification), and that's because I wanted to share my view on TBL with you so badly. And if you'd rather watch a non-indian film at the moment, my advice to you is: Don't watch "Nowhere Boy", especially not

before putting down your expectations. 

TERE BIN LADEN (2010) तेरे बिन लादेन

Title-Translation: "Without you, Bin Laden"/ "Your Bin Laden"

Director: Abhishek Sharma
Author: Abhishek Sharma
Producers: Aarti Shetty, Pooja Shetty Deora
Starring: Ali Zafar, Pradhuman Singh, Piyush Mishra

Plot: A TV reporter from Pakistan has been in love with "Amreeka" (America) since he was a child, but after a terrible misunderstanding, he can't go to the USA anymore, if he doesn't get a lot of money very quickly. Luckily, he and his friend meet a man that looks almost exactly like Osama Bin Laden. They decide to make a fake Osama-video and then sell it to the press.When the video becomes public, the fear of terrorism from the middle-east increases even further.

Written the 8th of February 2011
In culture and media, it's easy to get to the point when a topic is simply outdrawn like an old chewing gum and you just think, that this is it. No more about this topic for me, I've had enough of it. An example for it is World War II: As interesting and diversified the cultural references to it are, and no matter how many fantastic films and books it has been giving inspiration to, I simply don't want to hear about it any longer. Maybe it's the worst in Germany, but we just get overloaded with that kind of literature and films. However, 9/11 and the whole Middle-East vs. America situation is a much more up-to-date difficulty, but there has also been made tons of rubbish about this topic, so how strike the right note in order to make it juicy and sapid?

That's money, honey

"Tere Bin Laden" demonstrates one of the possibilities that can get it right. Spoofing everything that is in any way connected to the
topic - aside from the USA of course, TBL catches a sarcastic eye on terrorism itself (yes, that is possible), the "popularity" of emigration (especially to the US), flight attendants, and much more from CSI and saving-the-country films to Pakistani television and wannabes.
I was reminded of "The President Is Coming" at several moments, and I'm sure the makers have been inspired by it - which is meant as a compliment. Relying on qualitative cultural material is always a good idea, though we first need to ask the question "What's qualitative cultural material". If every second sentence is a cite from one of the director's or production companies films, that's not what I call qualitative.

Good for TBL, this could possibly never have happened to the film, as it draws advantage from a mint fresh director and a Pakistani singer debuting. Ali Zafar is as great an actor as he's a singer. Charming, convincing… and… not looking bad. He should definitely stay in the acting business - but also singing. As for Abhishek Sharma, that guy seems to be one of the new talents the Hindi Film Industry should focus on. He's got some big chances, I think.

Don't be greedy!

TBL doesn't place much emphasis on music, though Ali is allowed to rock the show at the end (always with a humorous wink), but in contrary to that, editing and cinematography are some of the fundamental strengths of the film. Supporting actors are of "mixed quality" - most of them overacting - they had to, of course - but they were not bad. Sugandha Garg was the one that I noticed most, I'm curious to see more of her.

2010 had more gems, than I thought and I'll continue looking for them. "Tere Bin Laden" is one of them, short and good, as we say in Germany and Denmark. This is the kind of humour I want to see concerning a topic like that - and not just in late night satire shows, but on the Big Screen. Hollywood/ America: take a leaf of this book.

Rating: 7.7

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.

Bipasha and a lot of Nonsense ("Aa Dekhen Zara" Review)

I'm beginning to like the concept of writing a funpost and then a review and then always shifting between the two kinds - one of them takes advance of the more chaotic side of me, and afterwards I can focus on one single film, and what's most important: Write a lot about it.
I've written this review quite a long time ago, but I don't want to keep it back from you for that reason.  Most of all, many critics or review authors had a quite different opinion than mine on this film, and that's also why I'd like to share my own thoughts about it. And if there's something seeming awkward to you, let me tell you that this review was written at approximately 1AM...


AA DEKHEN ZARA (2009)

Title-Translation: "We will see" or "Come Let's See"

Director: Jehangir Surti

Autors: Sheershak Anand, Shantanu Ray Chhibber

Producer: Viki Rajani

Starring: Bipasha Basu, Neil Nitin Mukesh

Plot: Ray inherits a camera that shows the future of the thing that you take a picture of. At the beginning, Ray uses the camera to gain money and becomes a real bastard, but he's also in love with a girl, Simi, who wants him to be like he was before.

And there are, off course, other people wanting the camera for their own.

Written the 8th of August 2010
There are many things about "Aa Dekhen Zara" that really annoyed me. For example, let's take the rapid and numerous camera shifts, sometimes even shimmed by camera flashes - what's meant to be entertaining, rather alienates the audience. In addition, it's a little hard getting into the film at the beginning, because the leading man, Ray, is never really introduced. Truth be hold, we don't get to know much at all about him in the film.
I'm also not yet convinced by the actor, Neil Nitin Mukesh. He doesn't act horribly, but he truly could have done much more, and sometimes seems pretty cold and artificial. Bipasha Basu is, opposite to him, very good - I learn to appreciate this woman more and more! Also her role is sketched comparatively cursorily, but still, she manages to give it a minimum amount of deepness. By doing that, she also saves her male counterpart. There's no huge silver screen chemistry between the two of them, but they harmonize well, and some scenes are even somewhat sweet. By the way, the name of a sandwich in the film is also very sweet (don't remember it, though).

As I said: gratuitous

In other respects, I don't have much positive to say about the first half. Once more, Bipasha is forced to jump into a tiny disco outfit and sing & dance - the necessity of this is supported by her being a singer. Sounds like "Bachna Ae Haseeno" to me, no? However, the whole "scene" is gratuitous, the whole thing (Ray and Simi getting to know each other) could have been done differently. Ray's metamorphosis is also something that seemed very illogical to me - do you become an idiot just by becoming rich? This metamorphosis is also highlighted musically by a very high-class song, whose lyrics mostly consists of "Paisa" (= money), and which is indeed heard by Ray on full volume-up in his very expensive car. Yes, it is possible to exaggerate. Talking about the music: I don't like at all. Not in the film - and don't dare to think that I will listen to this in my leisure time. I do give some plus points for the background music, though. Well, not the score, but the music on the radio and in the shops - simple Hindi pop music, which adds a little authenticity to the whole scenario. Ray and Simi watching "Omkara" on DVD is also a tiny little bit amusing.
After a fair first half, the second one is actually a little exciting. We follow the leading actors on the escape through Thailand, and somehow are on the edges of our seats (well, I was, at least a little bit). We also meet a very botoxed female police officer - but I'm clueless about Indian civil servants, maybe they all look like that... And Bipasha may perform another absurd, unnecessary dance sequence. But that's half as bad as the first one, as it's much shorter. The end is also quite good (though, obviously, they were "inspired" by "Dhoom:2").

So in a nutshell, I don't seem find this movie as bad, as I ought to find it. For everyone just descrying their love for Bipasha, it is worth-a-watch. Certainly though, "Aa Dekhen Zara" doesn't reach the level of the real 2009 goodies.

Rating: 3.9

Thank you for reading,

Mette M. K.