Tom Cruise runs, sprints and leaps. After all, he is Tom Cruise. We have seen him run across for miles countless number of times- either chased by futuristic tech-savvy cops with jetpacks or by the Heat Ray of the Martians. And here, in this relentlessly action-packed Mission Impossible outing, he runs more than ever, even as the Kremlin explodes behind him, or a sandstorm engulfs the whole of Dubai. We cannot expect a Tom Cruise movie without a generous dose of parkour. Just the same we cannot expect the Mission Impossible films to be the Bourne films either.
And, yet keeping that in mind, Brad Bird, the new director roped in, knows his flash, thrill, thrum and throb so well that the result is a film that entertains us effortlessly without bothering about any weighty issues. Bird hardly aims for seriousness or even some close-up conviction and relevance. But that is a minor complaint. Bird manages cleanly to do what people expect from him- Entertain.
And how. We begin with an agent gunned down in cold and misty Budapest, and then a secret file is revealed. Before we can speculate over whether it is a Macguffin or a Red Herring, Bird damns all the Hitchcock and Ian Fleming pastiche in favor of yet another spectacular action set-piece. Our screen hero Ethan Hunt ( Tom Cruise) is slickly smuggled out of a Moscow prison. Watch one of the most spectacular and genuinely edgy escape sequences ever- the highlights being fellow spook Benji (Simon Pegg) going nuts with cameras and computers, Cruise's goofy charm and the strains of Dean Martin's 'Ain't That A Kick In The Head' mixing in uneasily with fistfights and alarms. But that is not all. We are automatically lurched into the high-security vaults of the Kremlin, the skyscrapers and sands of Dubai and even into the innards of a large computer with a turbo-powered fan which can chop anyone to pieces!
Yeah, sure, the sheer relentless pace of the film leaves little room to breathe for us, but Bird ensures that you draw some deep breaths and exhale them out with chuckles. The film moves on with a basic, simplistic plot about the world on throes on nuclear destruction. Our ragtag team would be informed and briefed about getting the nuclear codes in their hands. Bird also stages a fantastically edgy sequence where the tricks are pulled all of a sudden and the audience is held on the edge of the seat. But for most of time, Bird makes sure that Hunt and his sidekicks do what they do best- run, jump and bash around. Bird's genius lies in making the stunts and fist fights as robust and edgy as he can. Hunt's climb on the looming Burj Al Khalifa is a masterclass of nerve racking paranoia while the botched up heist in Moscow is adequately intriguing and sinister. Bird does not place any strong emphasis on any political premise; he simply wants the agents to save the day first. This single-minded approach lends a steady sense of immediacy and urgency to the action set-pieces. We are thrilled as we see Hunt chase his nemesis even in the midst of the bewildering sandstorm or see him almost crash an expensive European sedan simply to destroy a nuclear missile that is about to destroy the New World. Amazing!
Bird's earlier film, the hit and acclaimed animated actioner 'The Incredibles', was about a superhero family dragged away from rest into the action. As in that film, the gadgets in this film look larger than life, even to the point of being outright unbelieveable. But Bird has a natural knack to build humorous situations around his gadgets. It is really hilarious to see Ethan and his team struggle ahead with faulty gadgets, which give away their plans. Equally funny is how some of the team feels uncomfortable with both gadgetry and the incredible feats that their mission requires from them.
And Bird has also got a solid cast with him. In the previous Mission Impossible films, the sidekicks were mostly a bunch of extras. But here, the cast comes up with some attitude themselves. Pegg plays Benji with a general talent for humor and believeability, while Jeremy Renner has a nice and convincing turn as a silent, edgy agent who hides a secret. While there are some indulgences like Anil Kapoor's underused turn as a loutish wildcard, or Michael Nyqvist as a neglected villain, Bird amply makes up with his screen heroine. Paula Patton plays Jane Carter with a remarkable confidence and smouldering sensuality. One has to see her hard-boiled catfight with a cold-blooded assassin or her scenes with Kapoor to really laud her spirit. Patton's dynamics are a welcome break from the usual bimbette stuff of spy films.
But the real star is the star himself. Tom Cruise is playing Ethan Hunt with more fun and warmth this time around. The actor plays an action hero, while refuting the hard-eyed Daniel Craig essence in favor for greater vulnerability and even an effortless comic timing. Watch him hesitate from leaping from a hospital floor, saunter calmly out after throwing off his disguise and gaze at Jane's gorgeous looks. It is more entertaining than any action hero's performance in recent years.
You would hardly watch MI4 for an unconventional plot. But it is a freewheeling film that delights in spectacular action and wise-ass humor. And as for seriousness, it will not be exactly nominated for it!
My Rating- 3.5/5
Saturday, December 17, 2011
Wednesday, December 7, 2011
Beautiful and Moving!
Pain and agony can give birth to melody and rhythm. It can lead an artist to do what he could not have done with all his talent. Even Mir Taqi Meer penned his finest lines, when reminiscing about his lost love or wandering in the deserted streets of a Delhi plundered by greed.
The legendary Bob Dylan would have been proud as well.
The ace singer and guitarist loved to lament the state of things with his acoustic ballads. However, he was also a moody personality, with little reverence to the managers who fell to their knees, or to the star-struck fans, who rushed at him from all corners. Only difference is that Janardhan Jakhar, aka Jordan, does not lament the state ofthings. He cries his heart out and with his guitar, sets the stage on fire with his profound agony.
Imtiaz Ali's Rockstar is the beautiful , moving story of this boyish,impulsive and romantic performer. It is the story of how a simpleton,who struggles to pose up with his beloved companion- the guitar itself-in front of a jeering audience, transforms as the wild-eyed, angry musician, who has everything for him, but there is something amiss in his life and he complains out aloud.
And we listen as well. 'Rockstar' benefits largely from its lead actor,a boy growing up into a man, while retaining that youthful essence and vulnerability firmly in place. Ranbir Kapoor had fascinated us with hisidyllic idealist roles in 'Rocket Singh' and 'Wake Up Sid'. But here,his role is not that of the simple, happy-go-lucky youngster. Here is amusician who finds an exquisite melody in his pain. It is a person, whoseems to be a man willing to forge his own path, determined for hisfree will. Yet, beneath the surface, there is an impulsive boy brooding over loss of first love.
And Ranbir does it all with such convincing ease, that it is hard tobelieve how smoothly it goes. From the Simple Simon,sweater clad avatar, who says the wrong things at the wrong time, to an infuriated and melancholic lover boy, Ranbir acts with a dazzling blend of emotions, expressions and confidence that makes his arc so believable that we eventually side up him.
A problem is the female lead in the film. As Janardhan/Jordan's love interest, Nargis Fakhri's Heer is a character that holds potential. Like Geet in Jab We Met, Ali has written a girl who is bothfree-spirited and vulnerable. However, while I did not expect Kareena Kapoor's credibility and chutzpah, I also did not expect it to be so flat as well. Nargis Fakhri is undeniably pretty, if one can overlook the upper lip pout. However, when it comes to stun us with some sharp histrionics, we get all pomp, no show. Sure, she smiles gaily, as she watches the B-Grade film sleaze in a seedy theater, or gulps down the bottles of 'Desi Daru' with Jordan. But her dialogue scenes seem contrived and strained. And of course, her simpers and sobs further ruin the impact.
But Ali makes up amply in his supporting cast. Piyush Mishra is alternately funny and vicious as the music industry tycoon, who exploits Jordan's talent and anguish to the fullest. Kumud Mishra has a nice turn as Jordan's understanding mentor Khatana. And yesteryear's rock and roll legend Shammi Kapoor has an unforgettable duo as a venerated musician, who finds that Jordan has It. Ali even lets the two Kapoors dominate the frames in a number of sequences, most notably in a mesmeric duet, the legend with the Shehnai and the younger star with his faithful guitar.
Ali has been a master in experimenting with tried and tested formula in his own credible and warm approach. 'Rockstar' is no different. While it is a predictable story, Ali has the ability to make us feel for its characters. Ali keeps most of the characters extremely life-like and believable. He also pens layer cakes of dialogues that are spiced up by ribald humor, naiveté and earthy simplicity as well. There are times,where he grapples with the more mushy and melodramatic moments.However, he amply makes up with his sharp eye and deft hand for detail and nuance. The film surprises and delights us with its nice, neat observations of its characters- from Janardhan playfully doing rounds with black glasses to Khatana's clavicle smeared with talcum powder, as he answers a questioning reporter and from Piyush Mishra's big wig to the pseudo-helpful recording artist, who punctuates, as a music director corrects Janardhan's renditions, with sounds of Oomph, Taahh!As a result, we end up believing in the film despite its more contrived moments.
The writer-director has showed a penchant for beautiful andshow-stopping song sequences as much as for images that capture the ups and downs of young love. Here, he is aided by veteran cinematographer Anil Mehta, whose work spans from the landscapes to the anguish and longing in Jordan's face, and from the excited crowds to the softer and impassioned moments of intimacy. And, miraculously, composer AR Rahman is back on scintillating and superb form. The ace composer has made a worthy comeback with rhythms and melodies that celebrate young love,echoes pain and disillusionment and also voices inspiration and salvation. It is a beautiful work of music and Ali uses it fully to stir and captivate us. You can feel the thump of angst for free will in'Sadda Haq', feel the mood for mischief with 'Katiya Karoon', feel invigorated and enlightened by the Sufi ballad 'Kun Faya Kun', set beautifully in the Nizamuddin Auliya Dargah and moved to tears by the epic finale of 'Nadaan Parinde'
Rockstar may not be a perfect film. Its world is a mix of fantasy and the real world we live in. While Ali cooks up the blend expertly, he does struggle at times. At the same time, it is also a film that, allof a sudden, tugs you in into its pain and passion. And while it may be a bit idyllic like most of the love stories , it is worth watching for Ali's heartfelt, nuanced filmmaking, music that wins our hearts and an actor who conquers our souls.
And those, who think that 'Rockstar' will fizzle out in our imagination, well think again. 'Rocky' was a film that celebrated boxing in an optimistic manner. 'Raging Bull' was about a boxer, whose personal demons destroy him, while making him a legend. Everyone knows how the latter has become more legendary than ever. Rockstar will too stand the test of time, while other musicals fade away in its glare.
The legendary Bob Dylan would have been proud as well.
The ace singer and guitarist loved to lament the state of things with his acoustic ballads. However, he was also a moody personality, with little reverence to the managers who fell to their knees, or to the star-struck fans, who rushed at him from all corners. Only difference is that Janardhan Jakhar, aka Jordan, does not lament the state ofthings. He cries his heart out and with his guitar, sets the stage on fire with his profound agony.
Imtiaz Ali's Rockstar is the beautiful , moving story of this boyish,impulsive and romantic performer. It is the story of how a simpleton,who struggles to pose up with his beloved companion- the guitar itself-in front of a jeering audience, transforms as the wild-eyed, angry musician, who has everything for him, but there is something amiss in his life and he complains out aloud.
And we listen as well. 'Rockstar' benefits largely from its lead actor,a boy growing up into a man, while retaining that youthful essence and vulnerability firmly in place. Ranbir Kapoor had fascinated us with hisidyllic idealist roles in 'Rocket Singh' and 'Wake Up Sid'. But here,his role is not that of the simple, happy-go-lucky youngster. Here is amusician who finds an exquisite melody in his pain. It is a person, whoseems to be a man willing to forge his own path, determined for hisfree will. Yet, beneath the surface, there is an impulsive boy brooding over loss of first love.
And Ranbir does it all with such convincing ease, that it is hard tobelieve how smoothly it goes. From the Simple Simon,sweater clad avatar, who says the wrong things at the wrong time, to an infuriated and melancholic lover boy, Ranbir acts with a dazzling blend of emotions, expressions and confidence that makes his arc so believable that we eventually side up him.
A problem is the female lead in the film. As Janardhan/Jordan's love interest, Nargis Fakhri's Heer is a character that holds potential. Like Geet in Jab We Met, Ali has written a girl who is bothfree-spirited and vulnerable. However, while I did not expect Kareena Kapoor's credibility and chutzpah, I also did not expect it to be so flat as well. Nargis Fakhri is undeniably pretty, if one can overlook the upper lip pout. However, when it comes to stun us with some sharp histrionics, we get all pomp, no show. Sure, she smiles gaily, as she watches the B-Grade film sleaze in a seedy theater, or gulps down the bottles of 'Desi Daru' with Jordan. But her dialogue scenes seem contrived and strained. And of course, her simpers and sobs further ruin the impact.
But Ali makes up amply in his supporting cast. Piyush Mishra is alternately funny and vicious as the music industry tycoon, who exploits Jordan's talent and anguish to the fullest. Kumud Mishra has a nice turn as Jordan's understanding mentor Khatana. And yesteryear's rock and roll legend Shammi Kapoor has an unforgettable duo as a venerated musician, who finds that Jordan has It. Ali even lets the two Kapoors dominate the frames in a number of sequences, most notably in a mesmeric duet, the legend with the Shehnai and the younger star with his faithful guitar.
Ali has been a master in experimenting with tried and tested formula in his own credible and warm approach. 'Rockstar' is no different. While it is a predictable story, Ali has the ability to make us feel for its characters. Ali keeps most of the characters extremely life-like and believable. He also pens layer cakes of dialogues that are spiced up by ribald humor, naiveté and earthy simplicity as well. There are times,where he grapples with the more mushy and melodramatic moments.However, he amply makes up with his sharp eye and deft hand for detail and nuance. The film surprises and delights us with its nice, neat observations of its characters- from Janardhan playfully doing rounds with black glasses to Khatana's clavicle smeared with talcum powder, as he answers a questioning reporter and from Piyush Mishra's big wig to the pseudo-helpful recording artist, who punctuates, as a music director corrects Janardhan's renditions, with sounds of Oomph, Taahh!As a result, we end up believing in the film despite its more contrived moments.
The writer-director has showed a penchant for beautiful andshow-stopping song sequences as much as for images that capture the ups and downs of young love. Here, he is aided by veteran cinematographer Anil Mehta, whose work spans from the landscapes to the anguish and longing in Jordan's face, and from the excited crowds to the softer and impassioned moments of intimacy. And, miraculously, composer AR Rahman is back on scintillating and superb form. The ace composer has made a worthy comeback with rhythms and melodies that celebrate young love,echoes pain and disillusionment and also voices inspiration and salvation. It is a beautiful work of music and Ali uses it fully to stir and captivate us. You can feel the thump of angst for free will in'Sadda Haq', feel the mood for mischief with 'Katiya Karoon', feel invigorated and enlightened by the Sufi ballad 'Kun Faya Kun', set beautifully in the Nizamuddin Auliya Dargah and moved to tears by the epic finale of 'Nadaan Parinde'
Rockstar may not be a perfect film. Its world is a mix of fantasy and the real world we live in. While Ali cooks up the blend expertly, he does struggle at times. At the same time, it is also a film that, allof a sudden, tugs you in into its pain and passion. And while it may be a bit idyllic like most of the love stories , it is worth watching for Ali's heartfelt, nuanced filmmaking, music that wins our hearts and an actor who conquers our souls.
And those, who think that 'Rockstar' will fizzle out in our imagination, well think again. 'Rocky' was a film that celebrated boxing in an optimistic manner. 'Raging Bull' was about a boxer, whose personal demons destroy him, while making him a legend. Everyone knows how the latter has become more legendary than ever. Rockstar will too stand the test of time, while other musicals fade away in its glare.
The Adventures Of Tintin- Secret Of The Unicorn
Herge's comic books have been translated into a number of languages and local dialects. Every local translator has been able to sum up all his or her ingenuity in reinventing the clever, wordy exchanges. So, it was only obvious that Steven Spielberg, the king of Hollywood chutzpah would sum the entire exotic and tongue in cheek essence so brilliantly and exuberantly in his performance capture version.
Never big on plots, Herge's Tintin series would be chiefly remembered for the scenic and bright illustrations and its warmly funny characters- the bumbling twin detectives named Thomson and Thompson, the hyper-active faithful dog Snowy, the garrulous and ever-drunk Captain Haddock and scheming villains. People, who made up for the blandness in the eponymous series hero himself. And anyone looking for more than plot structure, that would be soon tried and tested by the likes of Ian Fleming and Chacha Chaudhary creator Pran, would be soon find it less novel.
Yeah, the comic books were padded with intrigue, political conspiracy and mythical scandals. But from Fleming's James Bond novels and the films to Spielberg's own hilarious and enthralling Indiana Jones series, we have seen it all and we won't expect any new twist or turn of plot. So, those, who love films with thick plots, well steer clear of the silver screens. This is not a film to gloss over its plot- we don't have too many Robert Townes and Jonathan Nolans around.
What is there to marvel is the action and adventure. There are dollops of it on the palata, amply made up by delicously smart-ass humor and gags. One should note that Spielberg was never an experimenter with plot- he was the wizard of special effects, humor and action. All are there in generous doses, with Spileberg deftly experimenting with action storyboards, locations, period detail and characters. It all works with such relentless energy, invention and wit that we rarely tire of the film. And yet, despite the heavy Indiana Jones flavor, Spielberg has also kept the Herge's essence intact, with an eye for unexpected detail and mirth that flows in smoothly. The film effortlessly leaps, swivels, zooms and flies from the cobblestoned Brussels sidewalks to the grimy portholes of a massive freighter. And it also gains momentum, as it progresses- by the time the riveting chase in Morocco is over, you can take a deep breath.
And then there are Herge's beloved creations- Captain Haddock, Snowy and the Thom/pson duo. Spileberg has picked up the right cast- Jamie Bell's youthful essence fits in with Tintin's bland, boyish looks; in fact, it even makes it somewhat interesting. Better however are Andy Serkis finally playing a human in performance capture as Haddock- with Spielberg and his writers assigning him the meatiest lines and moments- and Daniel Craig, the handsome hunk's brisk features blended brilliantly into the snarl and sneer on the villain Sakharine's face. And Snowy's enthusiastic leaps and bounds and Thomson/Thompson's butter fingered ways end up raising the most chuckles.
I dare say that the animation is spectacular, not because it is not. It is because it is quite common with most films. Spielberg owned Dreamworks is the team behind some of the biggest blockbusters in the last decade. But I would also like to say how the fluid and dynamic animation seemed to knock me out. It is mindblowing how a film with a plot one would know moves and shifts with such immediacy. The sudden cuts and swipes are also quite imaginative and breathtaking. Picture this for instance. A lone boat on the sea cuts to a puddle on a sidewalk as a pair of boots trample it! Or a handshake merges into the dunes of a desert! We owe it to regular Spielberg collaborator editor Michael Kahn, for such fast and ingenious editing work.
It is a plain film with a dead simple plot. But the ever-energetic and enthusiastic Spielberg has suitably jazzed it up with his unflappable flair for action and humour. And that simply makes its anyday better than most action films in theatres.
My Rating- 4 out of 5.
Never big on plots, Herge's Tintin series would be chiefly remembered for the scenic and bright illustrations and its warmly funny characters- the bumbling twin detectives named Thomson and Thompson, the hyper-active faithful dog Snowy, the garrulous and ever-drunk Captain Haddock and scheming villains. People, who made up for the blandness in the eponymous series hero himself. And anyone looking for more than plot structure, that would be soon tried and tested by the likes of Ian Fleming and Chacha Chaudhary creator Pran, would be soon find it less novel.
Yeah, the comic books were padded with intrigue, political conspiracy and mythical scandals. But from Fleming's James Bond novels and the films to Spielberg's own hilarious and enthralling Indiana Jones series, we have seen it all and we won't expect any new twist or turn of plot. So, those, who love films with thick plots, well steer clear of the silver screens. This is not a film to gloss over its plot- we don't have too many Robert Townes and Jonathan Nolans around.
What is there to marvel is the action and adventure. There are dollops of it on the palata, amply made up by delicously smart-ass humor and gags. One should note that Spielberg was never an experimenter with plot- he was the wizard of special effects, humor and action. All are there in generous doses, with Spileberg deftly experimenting with action storyboards, locations, period detail and characters. It all works with such relentless energy, invention and wit that we rarely tire of the film. And yet, despite the heavy Indiana Jones flavor, Spielberg has also kept the Herge's essence intact, with an eye for unexpected detail and mirth that flows in smoothly. The film effortlessly leaps, swivels, zooms and flies from the cobblestoned Brussels sidewalks to the grimy portholes of a massive freighter. And it also gains momentum, as it progresses- by the time the riveting chase in Morocco is over, you can take a deep breath.
And then there are Herge's beloved creations- Captain Haddock, Snowy and the Thom/pson duo. Spileberg has picked up the right cast- Jamie Bell's youthful essence fits in with Tintin's bland, boyish looks; in fact, it even makes it somewhat interesting. Better however are Andy Serkis finally playing a human in performance capture as Haddock- with Spielberg and his writers assigning him the meatiest lines and moments- and Daniel Craig, the handsome hunk's brisk features blended brilliantly into the snarl and sneer on the villain Sakharine's face. And Snowy's enthusiastic leaps and bounds and Thomson/Thompson's butter fingered ways end up raising the most chuckles.
I dare say that the animation is spectacular, not because it is not. It is because it is quite common with most films. Spielberg owned Dreamworks is the team behind some of the biggest blockbusters in the last decade. But I would also like to say how the fluid and dynamic animation seemed to knock me out. It is mindblowing how a film with a plot one would know moves and shifts with such immediacy. The sudden cuts and swipes are also quite imaginative and breathtaking. Picture this for instance. A lone boat on the sea cuts to a puddle on a sidewalk as a pair of boots trample it! Or a handshake merges into the dunes of a desert! We owe it to regular Spielberg collaborator editor Michael Kahn, for such fast and ingenious editing work.
It is a plain film with a dead simple plot. But the ever-energetic and enthusiastic Spielberg has suitably jazzed it up with his unflappable flair for action and humour. And that simply makes its anyday better than most action films in theatres.
My Rating- 4 out of 5.
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