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Monday, July 15, 2013
Sunday, July 14, 2013
25 Best Movie Characters Of All Time- Part 2
20- Butch Cassidy/Sundance Kid- Butch Cassidy And The Sundance Kid (1969)
Actors- Paul Newman and Robert Redford
Screenwriter William Goldman also wrote the Oscar-winning Hollywood script of the Bernstein/Woodward story starring Redford and Dustin Hoffman in leads. But it is his sleek, split-second, warm and funny script for this Western caper that remains to be one of the finest ever. Most notably, Goldman along with director George Roy Hill sculpted two extraordinary male leads pitted together in a hot chase after a robbery goes wrong. Fellow thieves Butch (Paul Newman) and Sundance (Robert Redford) fly the coop on foot, on horseback and eventually scoot off to faraway Bolivia along with their common lady love (Katharine Ross), all the while mouthing a constant stream of hilarious dialogues, which let off sparks between the duo. Sundance is laconic and precise, Butch is charismatic and crafty; Sundance does not know to swim while Butch merely laughs about it; Butch seduces his girl with bicycle tricks while Sundance does it with a gun in the dark. Their contrast is sharply etched and it results in some hilarious setups but as they are eventually cornered in the moving climax and end up chatting about running away to Australia, you can’t help but feel for them both.
19- Jake La Motta- Raging Bull (1980)
Actor- Robert De Niro
Yeah, there is all this hype around it- the amount of preparation that De Niro did for this mammoth performance, about how he and Scorsese were closely involved in bringing the real-life veteran boxer on the silver screen and all that. But above all, like most of their unforgettable collaborations, this one is remembered mainly as a deeply troubling and heartbreakingly honest portrait of masculinity. Jake La Motta, the Bronx Bull, the relentless champ of the ring, turns out to be almost a monster for his most loved ones. From breaking his early marriage to suspecting his new wife- several years younger than him- of infidelity and finally bashing up his brother Joey (an explosive Joe Pesci) despite all that the latter did for him, Jake is also a terror, not only on his opponents but also on himself- his gluttony leads him to gain fat while he deliberately lets rival Sugar Ray knock him down into a bloody mess- after which he says ‘You never got me, Ray’. Yet, he is also surprisingly likeable, even worthy of sympathy- when he snuggles up close to his wife, when he desperately hugs his brother to reconcile and when, in a dark cell, he cries out with shattering pain- ‘They Call Me an Animal! I Am Not An Animal!’ Simply heartbreaking.
18-Captain Hilts- The Great Escape (1963)
Actor- Steve McQueen
Long before Arnold Schwarzenegger immortalized the Harley Davidson, while playing a mean and lean cyborg, sensational Steve McQueen immortalized the motorcycle as the ultimate symbol of rippling masculinity. And no, McQueen did not have the pecs and biceps of Arnie. What he had was pure cool. As the cockiest inmate in a high-security POW camp, Captain Hilts is also the most daring, irreverent and heroic. He cares less about his life, lesser about the constantly befuddled camp commanders and even less about the rest of the prisoners. All he wants is a quick getaway but he nevertheless lends a hand to the other 250. Armed with a baseball ball, he enjoys time in the ‘Cooler’ but when he escapes, it is then the most heroic bits come. Riding across the country without saying anything, McQueen becomes the coolest action hero performing daredevilry with a bike. And when in the end, he is tangled up in barb wire, we want him to live for sure, albeit in the ‘Cooler’.
17- Mr. Blonde- Reservoir Dogs (1992)
Actor- Michael Madsen
Sometimes, a single scene can define a whole film and a whole filmmaking culture. And while Quentin Tarantino has given us more than enough of such moments, the moment that remains to be iconic has to be the one which stars Mr. Blonde in a gleefully gruesome moment. Throughout the film, till that moment, Madsen’s sinister Mr. Blonde remains in the background as his fellow color-coded thieves argue heatedly about a messy heist job. But when he gets hold of a cop and ties him to a chair, the stage is set for one of the most extraordinary moments in the film. He gets into action, with a radio and a razor blade as he tunes playfully to a pop classic and then, all of a sudden, with alarming alacrity plunges the razor on the poor cop’s face. And then watch the horror of it all as Mr. Blonde plays around with a severed ear. Surely, Mr. Blonde is nothing more than a psychopath but Madsen’s indulgently repulsive performance makes his actions morbidly delightful.
16- Amon Goethe- Schindler’s List (1993)
Actor- Ralph Fiennes
Steven Spielberg’s incredible masterpiece, a tragic story of an unlikely hero of the grim days of Holocaust, was also known for its extraordinary performances and in this aspect, it is Ralph Fiennes who makes the most impression starring as one of the most devilish characters to make an appearance. His Amon Goethe comes to represent the worst of Nazism- as the commander in charge of liquidation of the ghetto in Krakow, Goethe is so ruthless that we almost believe that he is more of a machine rather than a human being. He lusts after his maid but when she does not reciprocate, he beats her mercilessly. Goethe is not just a villain. He is pure evil. With a stony stare in his eyes and an evil grin on his face, Fiennes comes off as nothing less than Satan on earth. And it is really unforgettable and awfully dangerous. When he recites that haunting ‘Today Is History’ speech, you cannot help but feel a chill down your spine.
Actors- Paul Newman and Robert Redford
Screenwriter William Goldman also wrote the Oscar-winning Hollywood script of the Bernstein/Woodward story starring Redford and Dustin Hoffman in leads. But it is his sleek, split-second, warm and funny script for this Western caper that remains to be one of the finest ever. Most notably, Goldman along with director George Roy Hill sculpted two extraordinary male leads pitted together in a hot chase after a robbery goes wrong. Fellow thieves Butch (Paul Newman) and Sundance (Robert Redford) fly the coop on foot, on horseback and eventually scoot off to faraway Bolivia along with their common lady love (Katharine Ross), all the while mouthing a constant stream of hilarious dialogues, which let off sparks between the duo. Sundance is laconic and precise, Butch is charismatic and crafty; Sundance does not know to swim while Butch merely laughs about it; Butch seduces his girl with bicycle tricks while Sundance does it with a gun in the dark. Their contrast is sharply etched and it results in some hilarious setups but as they are eventually cornered in the moving climax and end up chatting about running away to Australia, you can’t help but feel for them both.
19- Jake La Motta- Raging Bull (1980)
Actor- Robert De Niro
Yeah, there is all this hype around it- the amount of preparation that De Niro did for this mammoth performance, about how he and Scorsese were closely involved in bringing the real-life veteran boxer on the silver screen and all that. But above all, like most of their unforgettable collaborations, this one is remembered mainly as a deeply troubling and heartbreakingly honest portrait of masculinity. Jake La Motta, the Bronx Bull, the relentless champ of the ring, turns out to be almost a monster for his most loved ones. From breaking his early marriage to suspecting his new wife- several years younger than him- of infidelity and finally bashing up his brother Joey (an explosive Joe Pesci) despite all that the latter did for him, Jake is also a terror, not only on his opponents but also on himself- his gluttony leads him to gain fat while he deliberately lets rival Sugar Ray knock him down into a bloody mess- after which he says ‘You never got me, Ray’. Yet, he is also surprisingly likeable, even worthy of sympathy- when he snuggles up close to his wife, when he desperately hugs his brother to reconcile and when, in a dark cell, he cries out with shattering pain- ‘They Call Me an Animal! I Am Not An Animal!’ Simply heartbreaking.
18-Captain Hilts- The Great Escape (1963)
Actor- Steve McQueen
Long before Arnold Schwarzenegger immortalized the Harley Davidson, while playing a mean and lean cyborg, sensational Steve McQueen immortalized the motorcycle as the ultimate symbol of rippling masculinity. And no, McQueen did not have the pecs and biceps of Arnie. What he had was pure cool. As the cockiest inmate in a high-security POW camp, Captain Hilts is also the most daring, irreverent and heroic. He cares less about his life, lesser about the constantly befuddled camp commanders and even less about the rest of the prisoners. All he wants is a quick getaway but he nevertheless lends a hand to the other 250. Armed with a baseball ball, he enjoys time in the ‘Cooler’ but when he escapes, it is then the most heroic bits come. Riding across the country without saying anything, McQueen becomes the coolest action hero performing daredevilry with a bike. And when in the end, he is tangled up in barb wire, we want him to live for sure, albeit in the ‘Cooler’.
17- Mr. Blonde- Reservoir Dogs (1992)
Actor- Michael Madsen
Sometimes, a single scene can define a whole film and a whole filmmaking culture. And while Quentin Tarantino has given us more than enough of such moments, the moment that remains to be iconic has to be the one which stars Mr. Blonde in a gleefully gruesome moment. Throughout the film, till that moment, Madsen’s sinister Mr. Blonde remains in the background as his fellow color-coded thieves argue heatedly about a messy heist job. But when he gets hold of a cop and ties him to a chair, the stage is set for one of the most extraordinary moments in the film. He gets into action, with a radio and a razor blade as he tunes playfully to a pop classic and then, all of a sudden, with alarming alacrity plunges the razor on the poor cop’s face. And then watch the horror of it all as Mr. Blonde plays around with a severed ear. Surely, Mr. Blonde is nothing more than a psychopath but Madsen’s indulgently repulsive performance makes his actions morbidly delightful.
16- Amon Goethe- Schindler’s List (1993)
Actor- Ralph Fiennes
Steven Spielberg’s incredible masterpiece, a tragic story of an unlikely hero of the grim days of Holocaust, was also known for its extraordinary performances and in this aspect, it is Ralph Fiennes who makes the most impression starring as one of the most devilish characters to make an appearance. His Amon Goethe comes to represent the worst of Nazism- as the commander in charge of liquidation of the ghetto in Krakow, Goethe is so ruthless that we almost believe that he is more of a machine rather than a human being. He lusts after his maid but when she does not reciprocate, he beats her mercilessly. Goethe is not just a villain. He is pure evil. With a stony stare in his eyes and an evil grin on his face, Fiennes comes off as nothing less than Satan on earth. And it is really unforgettable and awfully dangerous. When he recites that haunting ‘Today Is History’ speech, you cannot help but feel a chill down your spine.
25 Best Movie Characters Of All Time- Part 1
They are either the most heroic, or the most villainous, either the sanest or the zaniest, either the scariest or the funniest. Here is a look at some of the most memorable screen characters of the Hollywood movies. They are a mixed up bunch of action heroes, gangsters, tycoons, villains, powerful people, cynics, freaks and more. And they are all memorable for their respective characters, performances and moments that have become truly unforgettable in every sense.
It was nearly impossible to pick out 25 names from an inevitably long line-up and I have admittedly left out a good deal of legendary heroes, villains and characters. However, while you are free to give your own suggestions, I promise that my own choices are pretty extraordinary and they are nothing short of legendary and amazing themselves.
Here is then the first part of the line-up and we begin the countdown now….
25- Colin Sullivan, The Departed (2006)
Actor- Matt Damon
As always, super director Martin Scorsese roped in a great cast for his Oscar-winning crime thriller and while Leonardo Di Caprio and Jack Nicholson bagged most of the raves, special mention should be given to Damon’s suave yet slippery Colin, as Di Caprio’s rival in this covert thriller. Starting as a clean-cut, confident cop, Colin doubles up as a less-than-efficient mole for his ‘Dad’ Costello (played by Nicholson). Torn between his promising cop career and his filial devotion to the steely Costello, Colin fumbles more than often and it is his blundering, awkward style (and implicit impotence) that give the film its real, crackling fireworks, most notably in the second half. Damon has done some great performances apart from his stellar turn as Jason Bourne but it is his role as the deceptively sleek criminal in disguise that stands out in his portfolio. He nails Colin’s naiveté with startling conviction, making his blunders look real and stark but he is also unafraid to reveal the rougher edges to his smoothness and it shows up in extraordinary sequences from a dinner with his lady love Madolyn (Vera Farmiga) to the shattering confrontation with his Dad which shows Colin at his most repulsive ever.
24- Allan Quartermain- King’s Solomon Mines (1950)
Actor- Stewart Granger
Granger, one of the more dashing heroes of the era of the 40s and 50s, has clearly never been better. He plays the archetypal adventure hero role with relish, sinking his teeth into the originally introspective character of H. R. Haggard’s exhilarating adventure novel and making him a more fleshed out person- an ivory hunter content to live in Africa yet endowed with cynical wit and enough heroic charm. We see Granger in his best when he indulges in some flirtatious banter with the pretty-yet-harried Deborah Kerr. He is clearly at ease in the wild goose chase for a husband and some diamonds while she often complains about the flies, fleas, scorpions, heat and yes, Allan himself. Effortlessly charismatic and having a great time in deciphering old legends and flirting with Kerr, Granger also makes for a convincing action hero, free from clichés as he engages himself in stellar adventure as well. You cannot help but cheer for him as he explains the meaning of an old Swahili song and then adds, mischievously, ‘Maybe I am Lucky Too’.
23-Lancaster Dodd- The Master (2012)
Actor- Phillip Seymour Hoffman
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At a first glance, Lancaster Dodd, ‘a writer, philosopher….and above all a man’ seems like the dapper gentleman that his name suggests. And with a hairdo and moustache like Orson Welles in ‘Citizen Kane’, he perfectly typifies the American of the 50s. There is more to him than his sheepish smile and his glassy gaze and Hoffman, a master actor, reveals it all in his terrific and stormy portrayal of a cult leader questioned by everyone- from sceptics to his most loyal followers. Posed as a flawed Jesus Christ, Dodd is as charismatic, wise and suave as he looks but beneath the smooth exterior lays a surprising hollowness and a mercurial temper. He does not like to be doubted and yet he cannot defend his own beliefs- instead choosing to argue vehemently and even use the F word. Yet, he is also dedicated enough to help out his latest follower Freddie Quell (an awesome Joaquin Phoenix) who is simply befuddled about what to believe and what not to believe. It is a performance that makes you smile and cringe at the same time.
22-Alfred Bowden- The Prestige (2006)
Actor- Christian Bale
Between the psychopathic Patrick Bateman and the psychologically-angst-ridden Batman, there is Christian Bale’s towering, magnificent and mercurial performance as a dynamic illusionist in this Christopher Nolan masterpiece. Yeah, right, Hugh Jackman played his showy rival with great élan but it is Bowden who is a creepier character. Laconic, observant, incredibly talented and ruthlessly determined, Bowden is always the ticking bomb- more than delighted and eager to foil Archer’s grandiose plans with his stealthy ways. And yes, as the final twist of the tale approaches, you end up rooting for him for all his calculated cruelty. Bale makes the character utterly real- wonderfully playing Bowden’s sneaky tactics with great relish- best witnessed in a scene where he says out in joy ‘Pardon Me for the Intrusion’ and yet nailing him a torn-apart character full of warmth and humanity.
21- Roy Neary- Close Encounters Of The Third Kind (1977)
Actor- Richard Dreyfuss
If Steven Spielberg had ever intended to make his own version of Martin Scorsese’s saga of obsession ‘Taxi Driver’, then ‘CEOTTK’ could be it. Deservedly called by many as the finest sci-fi film ever, it is also a solid story of human obsession and yes, as in Scorsese’s film, it is also driven by a mind-numbing central male performance. Richard Dreyfuss plays Roy Neary, a line worker seemingly happy with his kids and wife until one starry night, when he comes in a close encounter with a glittering UFO above his vehicle. Things soon go downhill for him- he loses his job and his own new-found obsession with the things popping up in the night sky end up ruining his family life as well. Dreyfuss captures the unrelenting paranoia and obsession of his harried character with staggering conviction and under Spielberg’s heartfelt direction, proves how something explicitly wonderful can be equally devastating.
Coming soon....- Part 2
It was nearly impossible to pick out 25 names from an inevitably long line-up and I have admittedly left out a good deal of legendary heroes, villains and characters. However, while you are free to give your own suggestions, I promise that my own choices are pretty extraordinary and they are nothing short of legendary and amazing themselves.
Here is then the first part of the line-up and we begin the countdown now….
25- Colin Sullivan, The Departed (2006)
Actor- Matt Damon
As always, super director Martin Scorsese roped in a great cast for his Oscar-winning crime thriller and while Leonardo Di Caprio and Jack Nicholson bagged most of the raves, special mention should be given to Damon’s suave yet slippery Colin, as Di Caprio’s rival in this covert thriller. Starting as a clean-cut, confident cop, Colin doubles up as a less-than-efficient mole for his ‘Dad’ Costello (played by Nicholson). Torn between his promising cop career and his filial devotion to the steely Costello, Colin fumbles more than often and it is his blundering, awkward style (and implicit impotence) that give the film its real, crackling fireworks, most notably in the second half. Damon has done some great performances apart from his stellar turn as Jason Bourne but it is his role as the deceptively sleek criminal in disguise that stands out in his portfolio. He nails Colin’s naiveté with startling conviction, making his blunders look real and stark but he is also unafraid to reveal the rougher edges to his smoothness and it shows up in extraordinary sequences from a dinner with his lady love Madolyn (Vera Farmiga) to the shattering confrontation with his Dad which shows Colin at his most repulsive ever.
24- Allan Quartermain- King’s Solomon Mines (1950)
Actor- Stewart Granger
Granger, one of the more dashing heroes of the era of the 40s and 50s, has clearly never been better. He plays the archetypal adventure hero role with relish, sinking his teeth into the originally introspective character of H. R. Haggard’s exhilarating adventure novel and making him a more fleshed out person- an ivory hunter content to live in Africa yet endowed with cynical wit and enough heroic charm. We see Granger in his best when he indulges in some flirtatious banter with the pretty-yet-harried Deborah Kerr. He is clearly at ease in the wild goose chase for a husband and some diamonds while she often complains about the flies, fleas, scorpions, heat and yes, Allan himself. Effortlessly charismatic and having a great time in deciphering old legends and flirting with Kerr, Granger also makes for a convincing action hero, free from clichés as he engages himself in stellar adventure as well. You cannot help but cheer for him as he explains the meaning of an old Swahili song and then adds, mischievously, ‘Maybe I am Lucky Too’.
23-Lancaster Dodd- The Master (2012)
Actor- Phillip Seymour Hoffman
.jpg)
At a first glance, Lancaster Dodd, ‘a writer, philosopher….and above all a man’ seems like the dapper gentleman that his name suggests. And with a hairdo and moustache like Orson Welles in ‘Citizen Kane’, he perfectly typifies the American of the 50s. There is more to him than his sheepish smile and his glassy gaze and Hoffman, a master actor, reveals it all in his terrific and stormy portrayal of a cult leader questioned by everyone- from sceptics to his most loyal followers. Posed as a flawed Jesus Christ, Dodd is as charismatic, wise and suave as he looks but beneath the smooth exterior lays a surprising hollowness and a mercurial temper. He does not like to be doubted and yet he cannot defend his own beliefs- instead choosing to argue vehemently and even use the F word. Yet, he is also dedicated enough to help out his latest follower Freddie Quell (an awesome Joaquin Phoenix) who is simply befuddled about what to believe and what not to believe. It is a performance that makes you smile and cringe at the same time.
22-Alfred Bowden- The Prestige (2006)
Actor- Christian Bale
Between the psychopathic Patrick Bateman and the psychologically-angst-ridden Batman, there is Christian Bale’s towering, magnificent and mercurial performance as a dynamic illusionist in this Christopher Nolan masterpiece. Yeah, right, Hugh Jackman played his showy rival with great élan but it is Bowden who is a creepier character. Laconic, observant, incredibly talented and ruthlessly determined, Bowden is always the ticking bomb- more than delighted and eager to foil Archer’s grandiose plans with his stealthy ways. And yes, as the final twist of the tale approaches, you end up rooting for him for all his calculated cruelty. Bale makes the character utterly real- wonderfully playing Bowden’s sneaky tactics with great relish- best witnessed in a scene where he says out in joy ‘Pardon Me for the Intrusion’ and yet nailing him a torn-apart character full of warmth and humanity.
21- Roy Neary- Close Encounters Of The Third Kind (1977)
Actor- Richard Dreyfuss
If Steven Spielberg had ever intended to make his own version of Martin Scorsese’s saga of obsession ‘Taxi Driver’, then ‘CEOTTK’ could be it. Deservedly called by many as the finest sci-fi film ever, it is also a solid story of human obsession and yes, as in Scorsese’s film, it is also driven by a mind-numbing central male performance. Richard Dreyfuss plays Roy Neary, a line worker seemingly happy with his kids and wife until one starry night, when he comes in a close encounter with a glittering UFO above his vehicle. Things soon go downhill for him- he loses his job and his own new-found obsession with the things popping up in the night sky end up ruining his family life as well. Dreyfuss captures the unrelenting paranoia and obsession of his harried character with staggering conviction and under Spielberg’s heartfelt direction, proves how something explicitly wonderful can be equally devastating.
Coming soon....- Part 2
Thursday, June 13, 2013
Man Of Steel- Will It Fly High?
Before I fell in love with Batman- thanks to Christopher Nolan and Christian Bale for that- I imagined myself as the Man Of Steel. Yes, with my chunky prescription glasses and my mild-mannered, introvert nature at school, I could have been Clark Kent. And when back home, I used to slip into a bright blue T-shirt with a big red S emblazoned on its chest and, with my one arm stretched and a spit curl on my forehead, I would zoom from one place to another.
Indeed, Superman, making a legendary comic book debut back in 1938, is the original Hero among heroes and it has to do with his larger-than-life origins, making even a referential presence in Salman Rushdie's magnum opus 'Midnight's Children'. Bruce Wayne was the orphaned millionaire vowing solemnly to fight crime; Peter Parker was the teen with raging hormones who got bitten by a radioactive spider. And as for the ragtag team of Avengers Assemble or the X-Men, they owe their origins to both history and mythology.
But Superman beats them all, when it comes to origins. The often-told story of how the idealistic father Jor-El sent his only son Kal-El away on a small rocket to Earth, moments before his home, the planet Krypton exploded, is nothing short of fascinating.
And right from those memorable Action Comics panels to the early TV series and movies and Richard Donner's 1978 Hollywood version- which is called sometimes the gold standard in superhero films- and its sequels down to the cheerful and humorous animated series on Cartoon Network, we have been handed the same S- bearing hero from Krypton and we have lapped up him gladly.
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Now, less than 24 hours from now, the highly anticipated reboot 'Man Of Steel' is all set to release amidst a lot of buzz and excitement. Marketed as a Warner Bros. summer blockbuster, this film already has a lot going for it. It has a new face above the red and blue outfit (even the outfit is no longer that red or blue). Henry Cavill makes for a gritty and masculine Superman who seems like a good change from the smile-happy blue-eyed Christopher Reeve and the confident-but-unremarkable Brandon Routh. It is produced by the dynamic Christopher Nolan, who gave us the extraordinary Batman reboot as well. And yes, other than the ambitious product tie-ins, this also promises to be a darker twist on the original Superman myth and already its trailers are making a lot of noise. It has all the makings of a blockbuster.
And then, one cannot help but feel a reservation. Everything might work in the favor of this summer release. That is everything, except for the director. Zack Snyder, an honest comic-book buff at heart, is the man who is in charge of this loaded ship and despite 5 feature film outings, he has still to prove that his comic book enthusiasm translates into good filmmaking. After a fairly promising debut- a remake of a George Romero horror film, Snyder has mostly stumbled- there was the mindless, juvenile yet shockingly popular '300' a film that chose to chroma-key the legendary Frank Miller comic book of the 300 Spartans against the Persians and ended up making a bloody mess out of it. There was yet another graphic novel adaptation but this time it was a clearly impossible task- 'Watchmen' the movie falls short of being as legendary and seminal as its source- the Alan Moore epic that is considered as a classic. Then came two further forgettable outings- a dull animated venture about fighting owls and 'Sucker Punch', a flimsy tale of trigger-happy ill-clad gals fighting monsters. Clearly, Snyder's abilities are dubious. And it still remains a question whether he can prove his worth with this Superman outing.
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And he alone is not to be doubted. The script itself seems problematic, as does the original intention of a reboot. The story, as penned by David Goyer, who also worked on 'Batman Begins', is about the Man of Steel and his origins but it seems to be pitting the hero against the villains who also flew out of Krypton. Obviously, that means that Snyder and Goyer are mixing the 1978 movie with its 1980 sequel which was essentially more of an awkward romance between Lois and Clark, than a superhero movie. But that also means that we will not get to see what Donner's film, comics and animated series have always offered to us. Superman's biggest nemesis is, and will be, Lex Luthor, the maeglomaniac-cum-millionaire who feels threatened by Superman's fame.
If it had not been for Lex Luthor, the Kryptonian villains could not have come at all to Earth, right? It has always been Luthor who has used his wealth and influence to try and weed out Man Of Steel. And he is a compelling bad guy, nursing a grudge and desperate to win back his origina position. Gene Hackman played it memorably in Richard Donner's movie as well as the sequels, his performance wrapped up in the wig of campy enjoyment-yet he even removes it away to show his nasty side. And even Kevin Spacey made a stellar tribute with a Luthor who was creepy. Does this year's reboot has a Luthor? Regrettably, no.
Instead, there is the Krypton villain General Zod who seems to be pitted against Superman. And somehow, this means that Superman seems to be heading the territory of Thor. Like Thor, he is now against an alien from his own planet. And this gives Snyder and his actors plenty of excuses to indulge in some relentless battle of brawn, rather than battle of wits, as it happens between Superman and Luthor.
And then there is the dubious intention. In an age when superheroes are getting bigger and bigger, Snyder and Nolan seem to be more interested in cutting down the original charm and nailing Superman as a serious guy. It is all okay to address the concerns of alienation and loneliness- the prime issues that most supernatural heroes face but one should never forget having fun. It would work well for Batman, because he is after all a darker hero, more of a vigilante than a supernatural Messiah and Nolan delivered the much-needed realism and darkness to the series. But Superman is a different story. Here is a man who is confident, a man who can easily make tough metal bend, a man who can even make the Leaning Tower straight. To make things deliberately portentious is almost like robbing him of his characteristic charm. And Snyder should have known better.
Sure, it is fine to focus on issues but that requires an altogether separate project. A TV series called 'Lois and Clark' was a breezy look at the sparks between Lois Lane and Clark Kent. She tries to decipher his mystery, while he struggles to keep it hidden. Another TV series, 'Smallville' was mostly about Clark Kent's early days, learning to handle his powers at a young age. While it will be surely refreshing to see a slightly steelier Man Of Steel, the fear remains that it may end up becoming too serious.
So, will 'Man Of Steel' work? Will it really soar in the clouds and become a seminal blockbuster? Or will it go down as yet another messed up superhero origins flick, like Ang Lee's 'Hulk' or that terrible 'X-Men Origins- Wolverine'? We don't know yet. But yeah, one thing is sure. The beautiful and talented Amy Adams is just perfect as Lois Lane.
Indeed, Superman, making a legendary comic book debut back in 1938, is the original Hero among heroes and it has to do with his larger-than-life origins, making even a referential presence in Salman Rushdie's magnum opus 'Midnight's Children'. Bruce Wayne was the orphaned millionaire vowing solemnly to fight crime; Peter Parker was the teen with raging hormones who got bitten by a radioactive spider. And as for the ragtag team of Avengers Assemble or the X-Men, they owe their origins to both history and mythology.
But Superman beats them all, when it comes to origins. The often-told story of how the idealistic father Jor-El sent his only son Kal-El away on a small rocket to Earth, moments before his home, the planet Krypton exploded, is nothing short of fascinating.
And right from those memorable Action Comics panels to the early TV series and movies and Richard Donner's 1978 Hollywood version- which is called sometimes the gold standard in superhero films- and its sequels down to the cheerful and humorous animated series on Cartoon Network, we have been handed the same S- bearing hero from Krypton and we have lapped up him gladly.
.jpg)
Now, less than 24 hours from now, the highly anticipated reboot 'Man Of Steel' is all set to release amidst a lot of buzz and excitement. Marketed as a Warner Bros. summer blockbuster, this film already has a lot going for it. It has a new face above the red and blue outfit (even the outfit is no longer that red or blue). Henry Cavill makes for a gritty and masculine Superman who seems like a good change from the smile-happy blue-eyed Christopher Reeve and the confident-but-unremarkable Brandon Routh. It is produced by the dynamic Christopher Nolan, who gave us the extraordinary Batman reboot as well. And yes, other than the ambitious product tie-ins, this also promises to be a darker twist on the original Superman myth and already its trailers are making a lot of noise. It has all the makings of a blockbuster.
And then, one cannot help but feel a reservation. Everything might work in the favor of this summer release. That is everything, except for the director. Zack Snyder, an honest comic-book buff at heart, is the man who is in charge of this loaded ship and despite 5 feature film outings, he has still to prove that his comic book enthusiasm translates into good filmmaking. After a fairly promising debut- a remake of a George Romero horror film, Snyder has mostly stumbled- there was the mindless, juvenile yet shockingly popular '300' a film that chose to chroma-key the legendary Frank Miller comic book of the 300 Spartans against the Persians and ended up making a bloody mess out of it. There was yet another graphic novel adaptation but this time it was a clearly impossible task- 'Watchmen' the movie falls short of being as legendary and seminal as its source- the Alan Moore epic that is considered as a classic. Then came two further forgettable outings- a dull animated venture about fighting owls and 'Sucker Punch', a flimsy tale of trigger-happy ill-clad gals fighting monsters. Clearly, Snyder's abilities are dubious. And it still remains a question whether he can prove his worth with this Superman outing.
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And he alone is not to be doubted. The script itself seems problematic, as does the original intention of a reboot. The story, as penned by David Goyer, who also worked on 'Batman Begins', is about the Man of Steel and his origins but it seems to be pitting the hero against the villains who also flew out of Krypton. Obviously, that means that Snyder and Goyer are mixing the 1978 movie with its 1980 sequel which was essentially more of an awkward romance between Lois and Clark, than a superhero movie. But that also means that we will not get to see what Donner's film, comics and animated series have always offered to us. Superman's biggest nemesis is, and will be, Lex Luthor, the maeglomaniac-cum-millionaire who feels threatened by Superman's fame.
If it had not been for Lex Luthor, the Kryptonian villains could not have come at all to Earth, right? It has always been Luthor who has used his wealth and influence to try and weed out Man Of Steel. And he is a compelling bad guy, nursing a grudge and desperate to win back his origina position. Gene Hackman played it memorably in Richard Donner's movie as well as the sequels, his performance wrapped up in the wig of campy enjoyment-yet he even removes it away to show his nasty side. And even Kevin Spacey made a stellar tribute with a Luthor who was creepy. Does this year's reboot has a Luthor? Regrettably, no.
Instead, there is the Krypton villain General Zod who seems to be pitted against Superman. And somehow, this means that Superman seems to be heading the territory of Thor. Like Thor, he is now against an alien from his own planet. And this gives Snyder and his actors plenty of excuses to indulge in some relentless battle of brawn, rather than battle of wits, as it happens between Superman and Luthor.
And then there is the dubious intention. In an age when superheroes are getting bigger and bigger, Snyder and Nolan seem to be more interested in cutting down the original charm and nailing Superman as a serious guy. It is all okay to address the concerns of alienation and loneliness- the prime issues that most supernatural heroes face but one should never forget having fun. It would work well for Batman, because he is after all a darker hero, more of a vigilante than a supernatural Messiah and Nolan delivered the much-needed realism and darkness to the series. But Superman is a different story. Here is a man who is confident, a man who can easily make tough metal bend, a man who can even make the Leaning Tower straight. To make things deliberately portentious is almost like robbing him of his characteristic charm. And Snyder should have known better.
Sure, it is fine to focus on issues but that requires an altogether separate project. A TV series called 'Lois and Clark' was a breezy look at the sparks between Lois Lane and Clark Kent. She tries to decipher his mystery, while he struggles to keep it hidden. Another TV series, 'Smallville' was mostly about Clark Kent's early days, learning to handle his powers at a young age. While it will be surely refreshing to see a slightly steelier Man Of Steel, the fear remains that it may end up becoming too serious.
So, will 'Man Of Steel' work? Will it really soar in the clouds and become a seminal blockbuster? Or will it go down as yet another messed up superhero origins flick, like Ang Lee's 'Hulk' or that terrible 'X-Men Origins- Wolverine'? We don't know yet. But yeah, one thing is sure. The beautiful and talented Amy Adams is just perfect as Lois Lane.
Saturday, June 8, 2013
Yeh Jawaani Hai Deewani- Frothy But Fun!
The opening scene of Ayan Mukerji's latest film reminds us, in its pomp and splendor, that this is most importantly a Karan Johar production. Make no mistake. This is the world of Mr. Johar, of super-rich people, super-big weddings, of gorgeous lehengas and ghagras and flawless sherwanis and so on. And, as the scene illustrates, this is also the world of perfectly round laddoos and shiny parcels. There are wealthy people, the kind of people who send invitations via FedEx to their globe-trotting buddies and send video messages as well to show off their elaborate wardrobes. Shifting seamlessly, if a bit fruitlessly, from the alternately colorful and frosty Manali (actually Kashmir) to the buzzing Paris and finally landing up on the glistening lake palaces of Udaipur, this is a rich film- a sumptous feast for the eyes and already with that beautifully enigmatic first shot, your tongue is in your cheek. So, who cares if Deepika Padukone's Naina nostalgically goes through her old memories in her room? Indeed, who cares, as long as it looks so good?
Fashioned like an epic story of love and friendship, (the trailers are suggesting it willingly), Mukerji's film might be easily called as the '3 Idiots' of the rom-com genre (the box-office numbers seem to be that big as well). As in that film, the larger-than-life feel-good factor often surprasses any real emotional relatability and much of the energy and vigor is thrown on having a lot of fun. Indeed, it is all dressed up with nowhere to go but is that really a bad thing?
My cynical nature would be inclined to agree but for most part 'Yeh Jawaani Hai Deewani' clicks. It works fascinatingly as a fine piece of mainstream entertainment with characters who exhibit refreshingly modern values. There is something awe-inspiring about the feel-good flair and subtlety of Mukerji's storytelling, such that even when the film feels forced and contrived, it never stops eliciting a WOW. And that is quite an achievement itself.
Part of the film's success has to do with its characters. 'YJHD' is populated with an interesting ensemble of buddies, all of who reek of earthiness and believability rather than being cardboard cut-outs. While this is a film that displays wealth rather explicitly, the explicitly rich characters end up being the butt of most of the jokes. Our main concerns lie with a foursome of friends.
Long-legged tomboy Aditi (Kalki Koechlin) spots her best school buddy, a bespectacled and mild-mannered Naina (Deepika Padukone) and eggs her, much to the chagrin of the latter's conservative mother (a brief but superb Dolly Ahluwalia), to join her and her old buddies Avinash and Bunny for a hike in Manali. Naina, who is obviously bored with her predictable life, decides to fly the coop. But again, make no mistake. This is not really about Naina catching up with Aditi. This is about the bad boy who is there for the trip.
Mukerji is the young director who made us aware of the actor beneath Ranbir Kapoor. Before his superb performance as the South Bombay slacker in Mukerji's debut 'Wake Up Sid', Kapoor was essentially a chocolate boy, predicted to be a favorite of only big wigs like Yash Chopra and Sanjay Leela Bhansali. As in that film, it is Kapoor's character, nicknamed Bunny, that drives most of the film. We first see him shaking a leg with Madhuri Dixit in a 'Kajra Re' style track in an elaborate brothel. He prefers to be called Bunny instead of his name Kabir. 'Like Bugs Bunny' he says, at one moment, in his mischievous best to a pretty but empty-headed girl. And this Bunny is quite a trouble-maker.
Along with Avinash (Aditya Roy Kapur), Aditi and a reluctant Naina, Bunny hops on a train to the famous tourist spot. That is what he always wants to do- travel, travel and travel. But he puts it as if he has what Michael Crichton may call the 'novelty gene'. Seeking thrills, he is there for the hike but he is also there for bonding for buddies.
Obviously, with a character who seems to like travelogues rather than diaries, it means that the film will take us and Bunny many places. Before that happens, Mukerji is confident enough to let us take in the rest of the characters. Aditi is a regular tomboy, full of verve yet tender; Avinash, happy with flirting and drinking, is spendthrift as well; Naina finds herself warming up to Bunny's infectious effervescence. And Bunny...well he is happy, only that he can be happier if he travels some more.
Halfway through the film, after an hour or so of fantastically pacy writing and ribald dialogue (by Hussain Dalal) and Mukerji's deft hand at characterization, things slow down and this is where it starts getting problematic. While the first half is pumped up with priceless moments of genuine chemistry and humor (there is a fantastic scene referring to the 90s hit 'Chumma Chumma' in which the four friends give their energetic best), the second half is a mixed up one, trying to sort out the problems of the characters but eventually Mukerji only clears the air for one of them.
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Bunny, as said before, loves to travel but he seems to know as well what it is costing him. After roaming through the exquisite city of Paris, he suddenly starts missing his old buddies and lands up on Aditi's grand wedding affair. Things seem to have changed- Aditi dresses up mostly in traditional attire, Naina left her glasses long back, while Avinash seems to have almost drowned in liquor and gambling.
But for Mukerji, some things don't change. The friends still find time to shake their legs to energetic dance numbers and play some hilarious gags as well amidst some beautiful and ethereal settings. In one crucial moment, when Bunny and Avinash quarrel with each other, they pause at the sight of Aditi dressed up in her traditional best and they easily apologize to each other. Really, as if it is really easy to forget everything and join in the celebrations.
Yet, there are also a notable number of times when Mukerji settles for some warmth- for some genuine signs of friendship among the leads. In one scene, Bunny offers to help Avinash with his debts, but Avinash waves them away and instead asks Bunny to join for a drink. Priceless.
Mukerji seems to be suggesting that Bunny's thirst for travel has left him deprived of warmth of his relatives and friends. It is a fine point to make and Mukerji portrays it perfectly with his emotionally balanced style, aided by warm dialogue and mesmerizing visuals. A conversation between Naina and Bunny is particularly well-handled- the two rattle off about similar things- she speaks about watching DDLJ at Maratha Mandir with popcorn while he talks about Phantom of the Opera at Broadway. The contrast between the two is perfectly depicted and it makes the rapport among the leads really special.
Still, for all of Mukerji's economy and his exuberant feel-good approach, 'YJHD' starts entering predictable territory. All of a sudden, Aditi and Avinash are shoved aside, a bit mercilessly and the film becomes too focused on Bunny and his feelings for Naina. Can he leave his passion for travel- his deepest desire-only for her? The film wobbles dangerously at this point and given that most of the fun and frolic is over, we end up letting a sigh. Thankfully, Mukerji wraps up everything smartly if a tad too conveniently. By the end, we are back to level 1, still more concerned with the fun rather than the characters themselves.
For its obvious flaws and lack of focus, 'Yeh Jawaani Hai Deewani' is still quite a good film, mostly because it manages to entertain us for most of the time. Living up to the hype of being a grand summer entertainer, Mukerji's film gives us more than the usual amount of fun that we get every summer. Everything looks stylish, grand and monumental while the rapport among the leads is full of humor and energy. There is even a full-fledged comic chase in Manali which further sees our four buddies sticking together against all odds.
And then, there is the music. Pritam's chartbusting tracks are beautifully captured on the screen- fitting perfectly with the plot and pumped with a brash mix of melody and energy. V.K Manikandan's visuals are beautifully textured and bright while the locations are shot with dizzying flair. As if to resurrect the grand age of romances shot in exotic locations which seems to have been lost with the demise of Yash Chopra, this Karan Johar production delivers bang for the buck, doing what Yash Raj Films did sometime back ago (the last Yash Raj outing was a solid 70's style drama set in the not-so-bright real-estate sprawl of Gurgaon)
And the cast is quite good as well. Ranbir Kapoor, handling the reins of the film as well as his slightly unsympathetic character, delivers yet another stunning act- blending a split-second comic timing with amazing conviction to give us a genuinely flawed and believable character. His lady love, however, is nothing beyond one-note; Deepika dons the thick spectacles well enough but that is the only brave thing she does- eventually ending up the same plastic heroine that she has always been. She is not awful but it is just that her character deserves a far better performance.
Coming from the king of big-budget glitz and glamour, 'Yeh Jawaani Hai Deewani' is nevertheless a considerably entertaining romp that manages to balance its emotions quite well. Ayan Mukerji has brought us a wild, wacky yet luxurious party where you brush away all your worries and troubles and join in the fun. It might not be the definitive youth movie of all times but yes, it is one hell of a party where you cannot refuse to shake a leg to a dance number or two.
Play It Again, Ayan!
My Rating- 3 and a Half Stars.
Friday, May 24, 2013
Decoding The Success Of 'Aashiqui 2'
'Aashiqui 2' suggests, by its name, that it is yet another of those pointless and completely irrelevant sequels that the Mahesh Bhatt-banner Vishesh Films rolls out ever few months or so. Just think of it- 'Jism 2' was completely different from the first 2004 movie and despite starring porn-star Sunny Leone, critics unanimously said that the film lacked the sexual fireworks which had excited all teenagers back in that year.
Maybe the banner plans to extend the signature popularity of each of their movies in the heyday by launching sequels, which are not really sequels. So, the same purpose seems to drive 'Aashiqui 2' a movie which promises to be as romantic and melodious as the earlier film starring Rahul Roy and Anu Agrawal, the 90s yarn that you remember more for its music and romance than for plot.
So, how does the new movie stack up in comparison? Like in the 1990 movie, the music and romance seems to have propelled Mohit Suri's film to runaway box office success. It has been a full month since the film opened up and pretty much everyone is still raving about how good the film has been.
As for me, I was not that easily roped in. 'Aashiqui 2', for me, had a predictable layout, drawing similarities from superior romantic films like 'Rockstar' and 'Abhimaan' and Suri's direction, other than some captivating bits, falls short of making it refreshing. Much was said about how good the leads were and clearly Aditya Roy Kapur is the biggest takeaway, along with the chartbusting music which carries the film better than its plot. Kapur plays a twisted character with both charm and conviction- his silent moments of brooding and insecurity almost come close to Robert De Niro in 'Raging Bull'. The same cannot be said for the other Kapoor in the film- leading lady Shraddha manages to look good in the key scenes but she is eventually nailed as yet another wilting wall-flower.
But shoot me. I am simply one of the few who did not quite find 'Aashiqui 2' as spectacular as everyone claimed it was. I am here to talk about the people all over the country humming to its songs (which is perfectly valid) and those who are going to watch it again (not so clear).
Where did 'Aashiqui 2' score the most? If you have a look at some of the past romantic films, it can be seen that most of them have turned out to be major disappointments. The rom-com genre is clearly the most abused- exotic locations in South Africa and Australia are now sounding like cliches while some of those low-budget outings are nothing short of grating stuff. Pure romance does not apply any longer- the success of romances like 'Jab We Met', 'Band Bajaa Baraat' and 'Ishaqzaade' is more due to their relatable plots and storylines than the candyfloss essence. Anurag Basu's 'Barfi' came close to being a candyfloss and sweet romance, but its main problem was the distracting mystery which ruined the fun and romance. Last November, the late and great Yash Chopra rolled out his final film 'Jab Tak Hai Jaan' amidst much anticipation. Contrary to the box-office reports, the film found a few real fans (one of them was me as well) because of the meandering storyline, the long running length and the incredulous elements- for instance, a visibly aging superstar playing a 25 year old.
So, maybe people noticed that 'Aashiqui 2' managed to deliver as a romantic film, albeit an old-fashioned one. In comparison to some of the recent candyfloss romances, 'Aashiqui 2' has some strengths. It is fairly economical at a running length of 2 hours, it has some effectivly conjured romantic moments and the music is perfectly used as well. Of course, one can point out some of the technical errors and snags. 'Aashiqui 2' is not necessarily a slick product, as some critics pointed out. The film lacks the technical polish of 'Jab Tak Hai Jaan' or 'Rockstar', but the audience nevertheless laps it up merely because the film sticks to those old-fashioned conventions of romance pretty well. And yes, the narrative, while mostly one-note in the second-half, nevertheless remains firm and strong.
But to call it it a spectacular romance would be a bit of overstatement. Audiences, crazed by the film's music and fresh casting decisions, are willingly calling it a great romance, even going to the extent of calling it better than some of our modern gems like 'Jab We Met' and 'Band Bajaa Baraat'. This seems to be a bit far-fetched. Films like these are known for their clever writing, the romantic chemistry between their leads and their charming characters. Suri's film has a solid chemistry between its leads but it falls prey to the old-fashioned cliches and characters who are mostly caricatures.
Maybe it is because our audiences are badly starved of romance and there was nothing romantic on display in recent months.
Or it is just that our audiences continue to be as fickle as ever.
Whatever you may call it, there is no denying the sheer popularity of a film like this. People are going gaga over it while the lovely songs continue to be chart-busters. They clearly do not mind the predictable layout and many of them are even willing to shed a few tears at the end.
And of course, I will be there for the nitpicking as usual. But yeah, if it is just all about sharing a jacket in the rain with your loved one, then who cares?
Maybe the banner plans to extend the signature popularity of each of their movies in the heyday by launching sequels, which are not really sequels. So, the same purpose seems to drive 'Aashiqui 2' a movie which promises to be as romantic and melodious as the earlier film starring Rahul Roy and Anu Agrawal, the 90s yarn that you remember more for its music and romance than for plot.
So, how does the new movie stack up in comparison? Like in the 1990 movie, the music and romance seems to have propelled Mohit Suri's film to runaway box office success. It has been a full month since the film opened up and pretty much everyone is still raving about how good the film has been.
As for me, I was not that easily roped in. 'Aashiqui 2', for me, had a predictable layout, drawing similarities from superior romantic films like 'Rockstar' and 'Abhimaan' and Suri's direction, other than some captivating bits, falls short of making it refreshing. Much was said about how good the leads were and clearly Aditya Roy Kapur is the biggest takeaway, along with the chartbusting music which carries the film better than its plot. Kapur plays a twisted character with both charm and conviction- his silent moments of brooding and insecurity almost come close to Robert De Niro in 'Raging Bull'. The same cannot be said for the other Kapoor in the film- leading lady Shraddha manages to look good in the key scenes but she is eventually nailed as yet another wilting wall-flower.
But shoot me. I am simply one of the few who did not quite find 'Aashiqui 2' as spectacular as everyone claimed it was. I am here to talk about the people all over the country humming to its songs (which is perfectly valid) and those who are going to watch it again (not so clear).
Where did 'Aashiqui 2' score the most? If you have a look at some of the past romantic films, it can be seen that most of them have turned out to be major disappointments. The rom-com genre is clearly the most abused- exotic locations in South Africa and Australia are now sounding like cliches while some of those low-budget outings are nothing short of grating stuff. Pure romance does not apply any longer- the success of romances like 'Jab We Met', 'Band Bajaa Baraat' and 'Ishaqzaade' is more due to their relatable plots and storylines than the candyfloss essence. Anurag Basu's 'Barfi' came close to being a candyfloss and sweet romance, but its main problem was the distracting mystery which ruined the fun and romance. Last November, the late and great Yash Chopra rolled out his final film 'Jab Tak Hai Jaan' amidst much anticipation. Contrary to the box-office reports, the film found a few real fans (one of them was me as well) because of the meandering storyline, the long running length and the incredulous elements- for instance, a visibly aging superstar playing a 25 year old.
So, maybe people noticed that 'Aashiqui 2' managed to deliver as a romantic film, albeit an old-fashioned one. In comparison to some of the recent candyfloss romances, 'Aashiqui 2' has some strengths. It is fairly economical at a running length of 2 hours, it has some effectivly conjured romantic moments and the music is perfectly used as well. Of course, one can point out some of the technical errors and snags. 'Aashiqui 2' is not necessarily a slick product, as some critics pointed out. The film lacks the technical polish of 'Jab Tak Hai Jaan' or 'Rockstar', but the audience nevertheless laps it up merely because the film sticks to those old-fashioned conventions of romance pretty well. And yes, the narrative, while mostly one-note in the second-half, nevertheless remains firm and strong.
But to call it it a spectacular romance would be a bit of overstatement. Audiences, crazed by the film's music and fresh casting decisions, are willingly calling it a great romance, even going to the extent of calling it better than some of our modern gems like 'Jab We Met' and 'Band Bajaa Baraat'. This seems to be a bit far-fetched. Films like these are known for their clever writing, the romantic chemistry between their leads and their charming characters. Suri's film has a solid chemistry between its leads but it falls prey to the old-fashioned cliches and characters who are mostly caricatures.
Maybe it is because our audiences are badly starved of romance and there was nothing romantic on display in recent months.
Or it is just that our audiences continue to be as fickle as ever.
Whatever you may call it, there is no denying the sheer popularity of a film like this. People are going gaga over it while the lovely songs continue to be chart-busters. They clearly do not mind the predictable layout and many of them are even willing to shed a few tears at the end.
And of course, I will be there for the nitpicking as usual. But yeah, if it is just all about sharing a jacket in the rain with your loved one, then who cares?
Thursday, May 16, 2013
Why 'Go Goa Gone' Gets It Right
Last Saturday, I was in the cool, air-conditioned environment of a multiplex standing next to the offices of Balaji Telefilms and Yash Raj Films respectively. What was happening on the screen was something that made us sit up and pay attention. While sticking to a basic Hollywood layout of zombies, slacker guys and gallons of gore, what writer-directors Raj and DK along with their dialogue writers Sita Menon and Raja Sen did in 'Go Goa Gone' was to bring alive the video-game-addicted-teen inside us all. Blending the snappiness of a Woody Allen comedy with a fiery ensemble of invective-laden punchlines and with an off-the-wall zaniness, this crunchy and crisp action comedy also had the right cast to pull it all off. I would not hesitate to call it clearly the 'Butch Cassidy And The Sundance Kid' of the zombie genre.
Yet, while there is both hilarity and horror with the zombies, this is also a film about youngsters and the amazing part of it lies in how believable these characters feel. The trio of befuddled buddies- slightly reminiscent of a similar troika in the Coen Brothers' 'O Brother, Where Art Thou'- are essentially a pack of blundering boys who refuse to grow up, think about sex even in the face of danger and are far from heroes, but they are loveable in every sense, precisely because they are relatable and far from the stereotypes that most filmmakers painted in the early days. Their characters develop not by excessive sketching- but by the way they behave.
And clearly, after watching the rushes to 'Go Goa Gone' as well as to other movies like 'Delhi Belly', 'Pyaar Ka Punchnama', 'Kai Po Che' and so on, I am tempted to say that all these films have this strong chemistry between their leads that makes them instant hits with a growing youth audience that is willing to spend over 150 rupees for a movie. All these movies may not have extraordinary plotlines or stories but they have the benefit of realistically etched characters and fantastic writing that makes the ordinariness of characters stand out. And in a way, these films, any one of them, stands out better than, say, 'Dil Chahta Hai'.
Look, I have nothing against 'Dil Chahta Hai'. Farhan Akhtar's warm and witty directorial debut is a fine showcase for his talent and I would even go ahead to say that it deserved bigger honors than the over-rated 'Lagaan' which was the talk of the town those days. Akhtar's film is an indvidual achievement, a personal take or perspective on relationships of friendship and romance, told in exuberantly mesmeric style and emotional heft to mint what can be called rightly a masterpiece.
But there is a flip-side to the films's neat edges and the problem is that they are too neat. If reports are to be believed, Akhtar's film did not quite click in small towns and among the middle-class folks. The reasons are obvious- the films's characters are mostly super-rich folks who can afford to go for vacations to Goa and laze around in gorgeous Sydney without a care in the world. Clearly, this is something that does not happen with us all. Not all of us are actually born with a silver spoon in our mouths.
Talking of silver spoons, a rich guy is similarly teased and mocked in a chartbusting song from Abbas Tyrewalla's 'Jaane Tu...Ya Jaane Na', called by some critics as the new 'Dil Chahta Hai' and I agree completely. It is not only an earthy and whimsical take on urban love and friendship. It is also surprisingly free from the smooth edges of Akhtar's work. The characters- including the modest hero and his buddies- are surprisingly simple, middle-class people with simple aspirations. One of the dashing rich characters- a young debonair- also has a darker, mercurial edge to his finesse.
Believability in a youth movie is important as it helps a movie to connect to its young audience and vice versa. Clearly, playing it simple is the trick but there have been notable exceptions where movies with aggressive ideas have clicked with audiences.
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| DEV-D |
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| LOVE, SEX AUR DHOKHA |
Consider Rakeysh Mehra's 'Rang De Basanti', Anurag Kashyap's 'Dev-D' and Dibakar Banerjee's 'Love, Sex Aur Dhokha'. In the first, the values of patriotism are contrasted with the consumerism of young India and the film also portrays how the normal youngsters become sensitive to the problems facing the country. In the other two, there are intriguing stories of a youth awakening to sexual freedom and pushing moral and cultural boundaries yet paying a hefty price. One is a spectacularly twisted and groovy take on a famous classic of literature; the other is an innovative experiment with visual style and storytelling. In both, the fantastic ideas combine with some subsersive, seminal storytelling.
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| Delhi Belly |
But clearly, simplicity is the key and it works really well. And there are many times when the relatability comes in incidentally and takes the whole film to a completely new level. It happens in 'Go Goa Gone' and 'Delhi Belly', films in which the outrageous stories are made believable by characters inhabiting them. They are now viewed as starkly believable portraits of bored and idle youngsters thrown into unbelievable situations. In a smashingly simple film like 'Rocket Singh', which celebrates the underdogs of the corporate world, the youngsters are portrayed as simple people with simple aspirations and ambitions of becoming salesmen, doing MBA studies and so on.
On the other side are people like Akhtar, Siddharth Anand and Karan Johar who have rolled out expensive-looking, stylish outings about youngsters. But do these films really click? Zoya Akhtar directed 'Zindagi Na Milegi Dobara' a film about three friends visiting Spain for an adventure but while it was acclaimed and welcomed, much of its popularity was built on its beautiful locations rather than its characters. And last year, Karan Johar gave us 'Student Of The Year', a glossy, shiny product that gave us some memorable characters and good chemistry between its promising male leads but eventually it was viewed as too good-looking to be actually real.
So, what is a youth film all about? Well, in simple terms, it is about appealing to the youth. And it is about giving us youngsters whom we can relate to. And that is where 'Go Goa Gone' gets it right. Hardik, Luv and Bunny are people who are instantly likeable even as they are far from being perfect.
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