Showing posts from April, 2009

Subtitle contest!

Who wants to take a crack at this gem from Neend Hamari Khwab Tumhare ?

a parallel cinema "avoid, yaar!": Ijaazat

[Spoilers.] A sculpture in a hospital shows my mood while watching this stereotype-indulging, slow movie about clueless, unthinking people. Bored and in pain, though at least Memsaab kept me company. Only the too-brief apperance of Shashi - who magically burst through a door just as I was saying "Where iiiiiiiiiiiis he?!?" - and two scenes of Shammi provided any relief. And I include in that R. D. Burman/Gulzar/Asha Bhosle's award-winning music, which hit my ear as overly synthesized and cheesy. The bulk of Gulzar's Ijaazat , based on a story by Subodh Ghosh, is a flashback of the story of Sudha (Rekha) and Mahinder (Naseeruddin Shah), who meet unexpectedly in a train station waiting room one rainy night. This long-suffering, bad-decision-making doormat and self-centered, wishy-washy, spoiled brat were married years ago, set up by her family friend/his grandfather, played by a kindly, prayer-spouting Shammi Kapoor sporting a truly excellent beard. They liked ea

fun on a shoestring: Kaala Pani (or Kala Pani, or Kaalaa Paani, or however many As you want to use)

Don't be confused by the titles. Babita is not in this movie, but Bindu, whose item-number headwear you see under the image of Babita, is. This has got to be one of the cheapest movies ever made to star such big names. The sound is spotty and the color leaps all over the place (and not in the "illustrating disturbing emotions" sort of way just seen in Salaakhen ) (as in these two pairs of images, in which the halves are less than a second apart). I don't think any money at all was spent on a script, or even ideas for a script, because characters, back stories, plot development, and progress of action are frequently shorthanded. For example, the leads - incorruptible officer Dharamveer (Shashi Kapoor) and feisty popsicle stand-owner and vigilante feminist Geeta (Neetu Singh) - are introduced individually, and there is no indication that they know each other or have even met previously. The first time we see them together, they cross paths at the police station, gr


Whenever PPCC loves a movie , particularly a Shashi movie, and I don't, I start to wonder if either I've missed something important and/or meaningful or I've just inexplicably and momentarily turned to stone, unmoved by Shashilicious powers and masala dil-squish. I don't know exactly what happened with Salaakhen and me, but in thinking about it, I've realized something: I think I expected this to be something it wasn't, namely a romp, superwow, masalavaganza, etc. It is an enjoyable, sweet film, but it is not the fun-fest I was anticipating. When a movie starts out with a fiery action sequence (neatly closed when the camera pulls out and you realize you've been watching not a preview of the scenes to come but the same film that the characters in the movie you're watching are watching), an orphan fighting The Man, Mehmood playing a jovial Muslim caricature, someone's dad stealing diamonds, and children suffering cruel fates - and one of said child