Iraivi - Mini review

Saw Iraivi by Kartik Subbaraju who earlier directed Jigar Thanda, a comically chilling exploration into the hitman next door. Powerful tale blending feminist views with theft of temple idols in a metaphorical embrace. Many plot twists and much violence makes it skid. But KS is Tamil cinema 's unique  blend stylistically mixing Sudhir Mishra, Anurag Kashyap and of course, Tarantino. He explicitly recognises the influence of writer Sujatha and director K Balachander. A deft mixture of art with crime, realism with everyday entertainment, misplaced machismo of weak men with emerging assertiveness of empowered women and visual motifs with hard-hitting dialogues makes the overcooked plot still worth it.

Flawed Machismo And Philandering Femmes: Tanu Weds Manu Returns

Two archetypes of Modern India.
Tanuja Trivedi a.k.a. Tanu - from UP. Romantic, aggressive, self-confident
Kusum Sangwan a.ka. Datto - from Haryana. Confident, dutiful, athletic.

Then you have Manu Sharma a.k.a.  Manu - A man torn between the two women
In the trignometry of modern India's changing gender equations, writer Himanshu Sharma and director Anand Rai explore patterns that go beyond the obvious.
Marriage meets betrayals. Lovesick Romeos flaunt flawed machismo. Girls lose their heads and find their feet as freedom comes with its warts. Tanu Weds Manu Returns is a subtle comedy of manners spiced with a depth that arrives elegantly when Kangana meets Kangana in a voluptuous meeting of dialects and dialectics. See it for her histrionics and the rugged charm of a plot that celebrates the vulnerabilities of hinterland India.

Selfie Verite - When stand-up comedy makes you sit down

'Time stands still in Calcutta. That is where ambition goes to die. It has a high return on investment on nostalgia'- says Papa CJ

It was delightful attending his PAPA CJ - NAKED (Gurgaon - Sun 31 May)show on Sunday. It is more than comedy. It has a deep literary flourish, with a visceral sense of pathos as he journeys into his own past to mix the ribald with the profound and the profound with the poignant. There is always a challenge in making stand-ups rise above the simple stringing of gags. CJ, reveals much more (body and soul) in what you could call Selfie Verite -- a click into his true persona. He does that in a fascinating way, combining impromptu interactivity with audience with a part-nostalgic, part-incisive recollections of his own past.

Pronounced bowels and digestible consonants: Piku

There is only so much you can guffaw when the bowel is a muse.
But beyond the ablutions lie the intuitions that provide a richer variety of humour.
Piku is brilliant. Beyond its toilet humour lies a sense of character and souls trapped in a rubble of conditioned habits and ways of the flesh. The richness of cultures ingrained and established is nothing when worlds collide between souls in search of harmonious understanding. Writer Juhi Chaturvedi excels in a matrix where characters are stripped naked of their habits and social mannerisms to a point where you see the constant permanent over the variables of everyday idiosyncrasies. Shoojit Sircar's ability to weave in little oddities and rich textures of culture within single-frame detail and short-lived gestures is amazing.
We are quite used to excellence from Amitabh Bachchan, but he can excel himself sometimes -- and the more weird the character, the more is his ability extract the juice of mannerisms, twitches and eccentricities. 

Irffan Khan, by now Bollywood's uncrowned king of understated elegance, can somehow combine the ruffianesque with the sensitive as only he can do, it seems.

But what is fascinating alongside is Deepika Padukone's ability to retain a sense of modern, independent, aesthetic style even as she sinks into a messy role that reflects a character steeped in the hallowed weight of traditions and responsibilities beyond what her tender shoulders might permit. Some things, when chewed well, can be very digestible and delicious.

Gangsta Chic Rum in Vintage Wine Glass: Bombay Velvet's Underwelming Underbelly

Smart Alec Parsees and uprooted Punjabis melt with tycoons and labour leaders in a cauldron that brews struggles for power, status and wealth amid rising skyscrapers and squalor. This is an excellent setting for a saga of wounded souls embracing and conspiring in romance and lust.

But overambition is a crime, be it an urban underbelly's anti-hero serenading a Portugese-scarred songstress or a Banaras boy trying to be a desi avant-garde Hollywood icon.
Anurag Kashyap, like Johnny Balraj played by a dedicated Ranbir Kapoor, shows spunk in a montage of taut plot, moving lyrics and nostalgia jazz. Yet Bombay Velvet underwhelms. It gets caught in a crossfire of style and crafting flaws. 
The characters jump too quickly in, with little etching. They all shake hands in curt Hollywood fashion in clumsy self-introductions. Close-ups make up for lack of aesthetic long shots or zooms. There is too much of Sphagetti Western influence that eats into the jazz mood. The characters are strong in some way but are way too middle-class in articulation. 
Karan Johar tries too hard as a manipulative wannabe, Ranbir shines with sincerity and Anushka Sharma fits the role despite her persona of not being a vulnerable screen figure. The music, inspite of the staccato violence that peppers the movie, stands out in poignant elegance. A lot of hardwork has evidently gone in: Sri Lankan locales, a pastiche of double-deckers, old-world brands and sepia knick-knacks.
But still...

Because India is not America, 1960s isn't 1930s, gangsta chic is not period authenticity, emotional trignometry is not social history.
And Kashyap is not Scorcese. 
Rum in a wine glass.

Calcutta Remixed, with some overcooking - Detective Byomkesh Bakshi (mini review)

Trams and hand rickshaws. Japanese agents and Chinese gangs. British power and Bihari workers. Murders, betrayals and shaky notions of love, loyalty and idealism. Dibakar Banerjee uses Detective Byomkesh Bakshi's thriller-sleuthing as a wonderful excuse to capture the dynamic 1940s in Calcutta, when Imperial lines and impoverished Indians crossed path in an ugly global game that involved opium peddlers, street politics and conspiracies of many hues. The movie is a magnificent high for a Bollywood Renaissance, but its end is overcooked, giving us a David Lean like period feel with a questionable aroma of the blood-and-psycho realism of a Tarantino.  And the use of disco and rock occasionally in the soundtrack is a jarring throwforward in a nostalgic high.
Costume design (inlcuding some by Manoshi Nath) give an authentic feel in a strange aesthetic that involves worn out cottons, long dhotis, Raj-era uniforms and loincloths amid mildewed walls and industrial machinery. And K Venugopal Menon's daughter plays female lead in a role that reminds you somehow of Smita Patil. Classic wine in multiplex bottle.

Crazy art with desi heart: the importance of Happy New Year

'In the dark times will there also be singing? Yes, there will also be singing. About the dark times.'

-       Bertolt Brecht

 When critics belonging to a narrow clique sharpen their claws to rip apart a successful Bollywood film, they usually sink their steely knives into their own social and emotional illiteracy. Farah Khan, on the other hand, thrives on precisely these literacies that define the structure of such cinema. But where she scores as an artiste (yeah, right), is in the robust creativity with which she approaches what is disparagingly called the Formula Film. 

Ms Khan turns the formula into a cult celebration and cliches into raw material with which she weaves a patchwork quilt of dubious aesthetic but colourful originality. She turns escapism into an act of self-conscious evolution. She turns enjoyment into an introspection of sorts. She makes a thinking film for the feeling types who do not know how to think. Her formula to achieve this is to convert the conventional formula into a spoof so that you can have an out-of-the-body experience: you know you are watching a film even as you are immersed in it. You feel a fictional narrative woven into a Bollywood documentary that becomes a toolkit of the stereotypes, mannerisms, situations and cult lines. It is an experience in which you jump in and out of the movie with a dolphin intelligence – the way dolphins jump in and out with amphibian aplomb in one of the scenes of Happy New Year, her latest work.

Happy New Year clearly defines its ground with several cult lines, the most audible of which is a simple statement: There are only two kinds of people in this world: winners and losers. If we look hard enough, the trick to produce a Bollywood winner is to focus on the losers as an audience, and give them a feeling of being winners in an immersive experience.

So we have identifiable characters: the cowardly, liquor-loving Mumbai “Ghati” Nandu Bhide (Abhishek Bachchan), the rugged northern workman Jag (Sonu Sood), the South Bombay “Bawa” Tammy (Boman Irani), and the bar dancer Mohini (Deepika Padukone) in the company of more urbane losers:  the English speaking, entrepreneurial Charlie (Shah Rukh Khan) and the Uncool Geek Rohan who won’t get a date but will happily hack into powerful computers to prove a point (Vivaan Shah).

The Diamond Heist is an old formula. So is the hero’s revenge for the wrong that visited his father by the villain.  What works in Happy New Year is the way diamonds can be turn into a metaphor: For the geek, a Wall Street IPO is it.  For a Marathi speaking girl from the dingy lanes of Parel, it could be winning a reality show that rewards her dancing skills. For Charlie-like anti-hero hucksters, it may be small business. When various skills come into a collective experience, it even connects with nationalism. At a deeper level, Happy New Year could be a subliminal tribute to the social dynamics that took a tea-seller to the prime minister’s chair in the year of its release. After all, building a coalition of political supporters is just like making a hit Bollywood film: a hundred crore people there, a hundred crore rupees here.

HNY’s biggest secret is the plot-less plot that indirectly asks questions that need to be asked: Why must every film necessarily mimic reality or try to craft a realistic pattern? Indeed, why must it even try to be real? Why can’t it celebrate the dark times of danga and panga with a salute to the tiranga in a mish-mash song and dance pastiche of reality shows, gloss, high-rise Dubai buildings and such? In craft, such a film may be compelled by box-office necessities or multiplex requirements, but hey, there is nourishment even in popcorn fantasies.

Happy New Year mocks the stereotypes even as it supplies them with a how-to manual that draws liberally from films such as Lagaan or Chak De India: Play on your skills, work as a team, celebrate the magic of life and yes, keep your izzat up. These are not soulless, heartless characters. They just do not have the life skills and have not heard of psychiatrists and even less can afford them. So they need a Bollywood director with a mother-like warmth (with triplets for proof) to tell them the stuff: “You are okay!”

It is difficult not to like Deepika –who manages to ooze grace even in a caricatured role a bit outsized for her elegant shoes.  SRK may be just adding his tadka of Red Chillies to the masala film. What works is the pastiche of cinematic clichés – like Bollywood laughing at itself.

As a cinematic experience, it is spoof as high art with a heart. As formula it is difficult not to imagine the Indiawale song at new-year DJ-blessed bashes. It is difficult not to enjoy crossword-solving moments where old Bollywood scenes, lines and situations are recreated with self-conscious we-are-like-this-only attitude. Ms Khan could well be regarded as a Bollywood impressionist, with more historical significance than she might herself realize. In Om Shanti Om, she played on Karz, the re-incarnation drama. In Happy New Year, she subtly plays on the Deewar formula at some deep level as she crafts King Khan into an angry young man who must dance, joke and conspire in the new century to achieve the same objective that Amitabh Bachchan’s Vijay did in the cult movie of the 1970s.

In that sense, Ms. Khan’s tribute to cinema becomes an extension and a celebration of the Bollywood masala film – with its special undercurrent of social relevance with a soul.  There are characters you can sympathise with, lost in a big bad world where the calculating mind triumphs over the innocent, joyful heart. In turning the ordinary into the extraordinary, HNY does what shows like Kaun Banega Crorepati have been doing on prime-time TV, contributing to a new Indian awakening with a new sense of confidence.  If Shah Rukh Khan’s Charlie shows an extension of Deewar’s Vijay, Deepika’s Mohini is a 21^st Century of Mother India that Nargis played – a moral icon, a striving figure seeking respect and justice.

You can sing and dance in dark times. Stereotypes and archetypes can create a new mythology. So what if they are a spoof? They have hearts that beat and souls that reflect. To laugh is a necessity. To cry is a compulsion. And losers must be made to feel like winners. In a reality show called Bollywood, ticket-buyers are judges.