Now I am in Mexico for awhile

I am temporarily living in Merida, Mexico. It will be very hard to find my Bollywood movies but I still follow Bollywood in the news and my latest find is that Amitabh Bachchan will guest star in a remake of "The Great Gatsby" for his friend, director, Baz Luhmann. Plus, looks like I will miss the opening of SRK's Ra1.

My Name is Khan: Featuring a Cast of Thousands (extras)

This movie illustrates why I love Bollywood movies. They make such an effort to express the emotions in complex situations and make me want to know more.

I am going to talk about the movie’s highlights and not the whole story because I think that would give too much away.

SRK’s onscreen entrance was not as dramatic as his entrances have been in the past; this set the tone for the movie. The opening scenes at airport security certainly recalled SRK’s 2009 detainment at a U.S. airport. The scenes were humiliating.

Gradually, SRK’s character, Rizwan Khan, develops as you see him mutter and roll small rocks in his hand repetitively. While security’s check on Khan showed no security flags, they ask him where he is going. “I am going to meet the President of the U.S”, Khan replies. He tells the officers, “I want to tell the President, My Name is Khan and I am not a terrorist.” The officers are not amused.

As Khan’s trip takes him across the U.S., he keeps a diary and the audience learns about his life, his marriage and the sad fallout of the 9/11 in the backlash against innocent Indians, particularly Muslims.There are many scenes with diverse populations that it is truly a cast of thousands.

Tanay Chheda, the young actor from Slumdog Millionaire, plays the young Khan. Khan’s mother (Zarina Wahab) treats Khan with love and acceptance and she finds ways to help her son. She coerces an educated man to tutor her son when Rizwan has trouble in school because of his autism.

During the 1983 riots in India when Hindus attacked Muslims, Khan’s mother taught her son that Hindus and Muslims were not different, telling him that there were only two kinds of people, good and bad.  Rizwan becomes a repairman. He is good with mechanical things and can fix almost anything.

His brother, Zahir (Jimmy Shergill) is jealous of his mother’s attention to Rizwan and when Zahir goes off to college in the U.S., he stays there after graduation and his mother never gets to meet his wife. After their mother dies, Zahir brings Rizwan to the U.S. to live with his family in San Francisco. Zahir sells herbal beauty products and gives Rizwan a job as a door-to-door salesman.

Rizwan has a highly functional form of autism called Asperger’s Syndrome. Eventually, you get used to his odd posture, his canted head, his avoidance of looking directly at people, his phobias, his habit of repetitive language and his disjointed conversations. You see his intelligence, his sense of humor, his honesty, his spirituality, and his attempts at socialization. During his travels as a salesman, he encounters Mandira (Kajol), a hair stylist. Mandira is Hindu and Khan is Muslim. Though Rizwan is awkward, he manages to sell her shop some of his products.

Rizwan falls in love with Mandira and finds ways to hang around her. Mandira is intrigued by Rizwan but does not show any real interest in him. Rizwan lets Mandira know he is aware that she is a divorced, single mother. Rizwan is not romantic, the closest he comes is when he wears a sweater in the color that Mandira likes. At one point, he asks her to marry him but she tries to laugh it off. They make a bet, she will marry Rizwan if he can show her something about San Francisco she has not seen. Over time, after many attempts, Rizwan finds something Mandira has not seen and they marry. Sam, Mandira’s young son, reluctantly accepts Rizwan as his step-father then more like a brother.

After 9/11 occurs, while the Khans’ entire community is saddened by events and you see scenes of shared community grief, soon Indians are being harassed and attacked. These scenes give you a sense of what is like for Muslims and Indians from children to shopkeepers, to professionals post 9/11.

Rizwan has a difficult time with emotion but he voices expressions of concern and love when he states that Islam’s prophet, Mohammed, said “the death of one innocent is equal to the death of humanity.” Rizwan and Mandira share a song, “We Shall Overcome” which becomes the movie’s theme.

A tragedy strikes the Khan family... and out of anger and fear, Mandira sends Rizwan away. In her anger, she tells him to go to the President of the U.S. and tell him, “My Name is Khan and I am not a Terrorist.” The movie is about Khan’s travels in his attempt to do as his wife asked. The story then becomes one of separation and forgiveness.

There many touching scenes like when Khan prays outside a bus stop. Khan has been tracking the President’s itinerary and follows him in his attempts to meet him. Along the way, he is helped by other people and he helps others as well. Also, Khan encounters ugly situations as well. Try to imagine what various disasters seem like to a person with autism.

I knew the movie would be sad. It made me cry and I don’t like to cry in public. There were many subtle and not-so-subtle character studies as various characters and scenes  portray moments in the U.S.’s recent history.

Even though I felt, again, that many scenes from several western movies were dropped into this movie, maybe I should look at them as tributes like they are in Bollywood movies. Because the storyline and acting exceeded any cliche is why I can forgive them.

Oh and ok, except for a few familiar gestures, I forgot that Rizwan was SRK; I think that is called acting.

It will be interesting to see what future movie ideas Shah Rukh Khan and Red Chilies Entertainment choose to pursue. My Name is Khan is a modern, realistic, well-researched movie. It has a mature storyline with many fully developed characters.

Since I began watching Bollywood movies, I have watched how a movie industry has struggled to define its changing audiences, and struggled to grow technologically and thematically such as with the ongoing debates over Bollywood’s traditional use of song-and-dance routines. While I support Bollywood’s ever-changing search for a new magic formula, my personal hope is that there will always be “masala” movies from Bollywood.

Director: Karan Johar

Cinematography: Ravi K. Chandran

Art: Sharmishta Roy

Screenplay: Shibani Bathija

Cast: Shah Rukh Khan, Kajol, Zarina Wahab, Jimmy Shergill, Tanay Chheda, Parvin Dabas and more.

3 Idiots is Full of Laughter

I have been talking about Bollywood ever since I saw Asoka in 2002. I have induced some family and friends to see various Bollywood movies, so it was great to share watching 3 Idiots with a friend. Being a screenwriter, she is attentive to details, plot and characterization, so it was especially nice that she enjoyed the movie. We laughed out loud.

Students starting engineering school and their orientation and hazing open the movie. One student Rancho (Aamir Khan) is different from the others as seen in his refusal to bow to senior students pressure during hazing with a chemistry trick to thwart the process. Hari (Sharman Joshi) and Farhan Qureshi (Madhavan) and Rancho become friends and the movie follows their adventures.

The school administrator, Viru Sahastrabudhhe (Boman Irani) creates an tense atmosphere following his motto, “Compete or die.” Boman Irani is both comical and frightening as the aging administrator.

Humorous scenes of campus life are at times disrupted by serious scenes like when a student succumbs to the pressure of making good grades and long hours of studying by choosing to commit suicide.

The administrator holds up an ink pen and tells the new class, I have been waiting 32 years for that exceptional student to pass along this pen.

Rancho is different in the way he looks at the world. He challenges convention and asks  questions. His favorite saying is “All is well.”

Many of the musical interludes are delightful. The shower scene musical number is funny and light-hearted. Surprisingly, some music lyrics are in English.

Some of the students’ antics include crashing a wedding which is more than a funny scene because new characters are introduced and added to the storyline such as when Rancho points out to a woman, Pia, (Kareena Kapoor) who he thinks is the bride that her fiance is more concerned about money than people.

The end of semester ceremonies include a student speech which Rancho has altered to make it funny but the student, Chatur Ramalingam (Omi Vaidya), remembers the joke and is determined to retaliate.

As the students separate to go their own way, they vow to meet again in the future at the same place and same time.

When the Hari, Farhan, and Chatur meet again, Rancho has not appeared, so they go in search of him and find another story along the way.

In many instances, I felt I was seeing whole scenes from western movies dropped into this movie. With Rancho’s character I felt I was seeing Good Will Hunting, The Wedding Crashers, The Paper Chase, and Patch Adams. The emergency baby delivery scene was like watching Apollo 13. This movie was truly delightful. But, while movies often represent universal experiences, movies also illustrate unique perspectives and that is what I felt was missing. Or, in another way, Bollywood is reflecting the westernization of India’s culture. 

The movie is well-acted with beautiful and brightly colored cinematography, and delightful choreography. I enjoyed seeing the reunion of the Rang De Basanti actors, Aamir Khan, Sharman Joshi, and Madhavan.

This is the first time I thought Aamir Khan appeared to enjoy himself.

Shah Rukh Khan Detained at Newark Airport

News of SRK's detention has made the news in the US and in India and a lot of people are mad. Some accuse SRK pulling this as a stunt to promote his film, My Name is Khan. Others are angry at the US for being ignorant and xenophobic. I think there is a simpler answer.

When I read that SRK's film, My Name is Khan, was being picked up by Fox Star Studios. as the distributor, I thought, "Uh Oh," that may not be a good thing. While it is good news that an "American" company selected an Indian film to distribute, that did not necessarily mean they would be able to do it adequately or with respect for the genre.

After reading several articles about SRK's detention, while others blamed SRK or his company for pulling a stunt, it is more likely that Fox Star Studios, which is financing and distributing the film, would pull a stunt like this. Fox Star Studios' parent company, News Corporation, which is owned by Rupert Murdoch, has been known to distort the news. Fox News, Inc. which is also owned by Murdoch has been documented countless times for spreading lies and rumors. See Media Matters.org or Buzzflash.com for examples.

Murdoch's companies make money spreading lies and rumors. A stunt like putting SRK's name on a suspected terrorist list in America without telling SRK would be just the kind of thing an organization run by Murdoch would do.

Slumdog Millionaire

Of course, I had to see Slumdog Millionaire. The buzz is enormous. I try to avoid reading reviews of movies I plan to write about but it was hard with Slumdog Millionaire. I saw the movie at the E Street Cinema in Washington, DC on Super Bowl Tuesday night. By the time, I watched the movie, I had seen the Golden Globe Awards and heard some of the criticism of the movie.

You are introduced to the main character, Jamal Malik (Dev Patel), as a contestant on the Indian "Who Wants to be a Millionaire?" He has gained local fame by answering several questions correctly as the jackpot increases. TV host, Prem Kumar (Anil Kapoor) is getting increasingly irritated by the young man's run of luck. At the end of the segment, Jamal is arrested and taken to a police station where he is tortured. Prem believes Jamal is cheating and wants his confession. But, as the torture continues, Jamal does not confess. He is adamant that he knew the answers. So, the story unfolds in flashbacks to his childhood where his various experiences introduce him to varied bits of trivia.

Many of the flashbacks are shot in the vast Mumbai slums. Rapid action scenes of young Jamal and his brother, Salim, follow their youthful exploits including losing their mother in a religious riot as Hindus attack and burn parts of the slum where many Muslims live. After losing their mother, the boys find a variety of ways to survive. They serve tea on trains until they are thrown off. They beg. They pick trash. Mixed in are a few days in a classroom. Then a bus arrives and carts them off to a phony orphanage camp. At first, they are happy because they get fed. But, then they must beg for the leader, Maman, much like Oliver in Oliver Twist. Then, Salim, Jamal's brother witnesses Maman mutilate one of the children. He rushes his brother and their new found friend Latika out of the camp but only Jamal and Salim escape.

Jamal had fallen in love with Latika and never forgot her as he and Salim continue their efforts to survive. Bits of humor flit through the scenes such as when the boys set up some American tourists as they tour the slum with their cameras. While they are shooting, the boys' cohorts strip the car. When the tourists return, the young boys dash off saying, "You wanted to see the real India, well this is it."

For me the turning point in the story is while searching for Latika, Salim and Jamal encounter Maman and face capture again. Salim shots Maman and only the boys escape again. Jamal had learned that Maman was using Latika to attract older men.

As the flashbacks return to Jamal in the contestant's seat facing the game show host, you can feel his discomfort and his resilience.

As a young man, Jamal had become a chai wallah (tea assistant) in a call center. There he finds his brother's phone number and mets Salim again. Salim has become a criminal. But, Salim leads Jamal to Latika. She had become the mistress of a crime boss. Jamal tries to convince her to leave him. She asks what will we live on. He says, "love." He learns she likes the show "Who Wants to be a Millionaire?" because it is escapism for her.

Jamal applies to become a contestant on the show because he believes Latika will see him.

Prem accepts the police's belief that Jamal is not cheating and the show continues. Now, there is an undercurrent of tension between the two.

Many think this movie is like a Bollywood movie. In some ways it is and in some ways it is not. The story is not new. Orphaned brothers who struggle to survive and take divergent paths in adulthood is a common Bollywood theme. Conflict between the protagonists is the crux of the movie where the bad brother eventually saves the good brother from harm. A similar Bollywood movie Ram Janne, features two protagonists who are not brothers, they are orphans who help each other survive. One orphan, Ram Janne, becomes a criminal, the other, Muli, runs an orphanage.

Everyone got so excited about the dance number at the end of the movie. In a real Bollywood movie, there are as many as six song and dance numbers sprinkled throughout the story.

In many Bollywood movies, I am left with questions, the same holds true with Slumdog Millionaire. I wondered what made the two boys different since they had similar experiences. Also, I thought that Salim's character was not shown in a favorable light. He was the older brother and had protected Jamal many many times. When faced with an adult criminal, Maman, Salim took the only choice he felt he had when he killed him. I felt that Salim could have taken another path in life rather than the one the movie portrayed.

Also, I never felt that the adult Latika's character reflected the abuse, loneliness, dreariness of her life experiences. It made the reunion with Jamal seem shallow.

The child actors who were in most of the movie really deserve alot more credit than they got at any of the awards ceremonies or film festivals. They were the real stars.

There is controversy over how the children were treated. Did they get paid enough? How did acting in the movie affect their lives? These are the questions people are asking of the movie producers and directors. The producers did pay the children more than three times an adult wages, created a trust fund for them when they completed school, and found a school for the children and are paying for their education.

Poverty is a reality worldwide. Sadly, the lives of these children will probably not change much in the future.

Sadly, I believe most of the controversy over Slumdog Millionaire is based on jealousy. Indians are angry that it was not a Bollywood movie that is making such news but a movie made by an outsider. Bollywood movies often contain violence and scenes of poverty and criminality. On the positive side, let's hope that the world will now take an interest in Bollywood movies.

Director: Danny Boyle and Loveleen Tandan

Producer: Christian Colson

Screenplay: Simon Beaufoy based on novel Q&A by Vikas Swarup

Cast: Jamal Mallik, Prem Kumar, Freida Pinto, Irrfan Khan, Azharuddin Mohammed Ismail (young Salim), Ayush Mahesh Khedekar (young Jamal), Rubiana Ali (young Latika) and more.

Rab Ne Bana Jodi

My first Bollywood movie in over a year!

It was fortunate that the movie, Rab Ne Bana Jodi, was playing at the Union Station theaters in Washington, DC. They were much easier to reach than Laurel, Maryland or Virginia theaters. But, the movie was not advertised well at this location, so very few people came to the showing on a Tuesday night.

During the movie previews, I was happy to see that Hrithik Rosan has a new movie, New York, coming out. But, I was disappointed in Aamir Khan's new release, Ghajini, because its storyline looks so much like Momento.

My first reaction to Rab Ne Bana Jodi was-- Shah Rukh Khan with a mustache? SRK's character, Surinder, was a studious, office worker at Punjab Power. SRK's co-star, Anushka Sharma, played Taani, the daughter of an old friend of Surinder. They met briefly during her wedding celebrations.

Rapidly the movie introduces the story's central conflict. Taani's fiancee is killed in an accident on the eve of their wedding.

This tragedy is too much for Taani's father. He has a heart attack and from his hospital bed, he asks Surinder to marry Taani and also asks Taani to accept Surinder as her husband. Both accept the offer but for different reasons. Surinder has fallen in love with Taani and in Taani's grief she agrees to please her father.

Surinder's character shows his sweetness, consideration and devotion when he brings Taani, now his wife, home. He gives her his bedroom while he sleeps in the attic. He makes no demands on her.

Surinder goes to work everyday and Taani faithfully cleans the house and prepares his meals.

Soon Surinder's friends finds out about his marriage and complicate his life. Surinder's best friend learns that Surinder loves Taani but she says she can not return his love.

Soon, Taani seeks a relief from her boredom and asks Surinder if she can take dancing lessons. He agrees.

Surinder's friend, Bobby, helps Surinder transform himself into Raj, a happy-g0-lucky guy who joins Taani's dancing class. Eventually, the two become partners. At first, Taani keeps the relationship formal but because Surinder as Raj wants to see Taani happy, he jokes with her and coaxes her to join him in other activities. Soon, they are spending a great deal of time together.

When Surinder comes home late from the office, he claims he has a lot of work and will be late alot. Taani doesn't seem to care.

In his attempt to reach out to Taani as himself, Surinder takes her to the movies. There the movie itself becomes a movie within a movie. In some cases, Taani sees Raj on screen talking to her. Other times, Taani sees Raj dancing in elaborate routines with a bevy of beauties including some familiar faces.

It was during these scenes, I missed a large audience because I was the only one clapping or cheering when I recognized some of SRK's former co-stars. The choreography was elegant and extravagant much like western movies old musicals.

In real life, Surinder as Raj struggles to act cool, even his t-shirt announces, "Anyone, Anywhere, Anytime." It's funny to see Surinder try to overcome his clumsiness.

All of Surinder's misguided efforts are to make Taani happy but how can a massive deception like this achieve that goal? When in the end, Taani falls in love with Raj but not Surinder.

How the movie resolves this dilemma does not satisfy me. While I appreciated the sentiment that love happens when you see "god" in the other person.

Surinder was willing to give Taani up to a fantasy to make her happy. Slowly, Taani begins to realize how much Surinder has done for her.

I don't like being a critic. Who am I? I've never put a pen to paper to write a screenplay. I would never get in front of a camera. So what do I say when I liked 98% of the movie, yet wonder about the 2%? One thing is while Anushka is an attractive capable actress, I did not feel any chemistry between her and SRK.

There was something reminiscent about this movie. While most movies are a rehash of the same stories over and over. I felt that this movie took a truly sensitive subject and failed to let the main characters connect in a real way.

While the movie told the story of one man's love in a simple manner, winning his love's heart was complicated, confusing, and deceptive.

In a way, it was a man's movie that said, "love me as I am." In another way, it was a woman's movie that said, "Love me as no one else can."

While Taani had little opportunity to get to know her groom before their marriage and she made little opportunity after. He was a quiet, shy, introverted, good-hearted person. She had been a loving, happy, outgoing person. They deceived each other.

Yet, when a man loves a woman, he tries at times to be more than he is, he tries to be something she can admire. He explores the brave, poetic and romantic in himself.

I wish I could have seen her explore her role as a wife and a woman in a marriage.



Aditya Chopra: Director, writer, producer
Cinematography: Ravi K. Chandran
Choreography: Shiamak Davar, Raibhavi Merchant
Cast: Shah Rukh Khan, Anushka Sharma and more

Lage Raho Munna Bhai

This kind of movie happens once in a lifetime. Before Lage Raho Munna Bhai there was Munna Bhai MBBS, a comedy about a “goon” who pretends to be a doctor to impress his parents. It was an Indian “Patch Adams.” When I went to see Lage Raho Munna Bhai, I was expecting a second-rate takeoff of the first Munna Bhai instead it was a completely new story. Several of the actri play the same characters such as Sanjay Dutt and Arshad Warsi who play Munna Bhai and Circuit, respectively, and other actri play new characters such as Boman Irani, who played the uptight hospital administrator in Munna Bhai MBBS, plays Lucky in Lage Raho Munna Bhai. I was touched by the fact the Director and Producer choose to bring back many of the secondary characters such as Jimmy Shergill.

In essence, Lage Raho Munna Bhai is about a hoodlum, Murli Prasad Sharma, known as Munna Bhai, who is in love with Jhanvi, a popular radio talk show host, played by Vidya Balan. He listens to her show every morning. When she holds a Mahatma Ghandi quiz for her listeners, Murli wants to win the contest in order to meet her. His sidekick, Circuit, decides to “kidnap” Ghandi experts to help him answer the questions. After winning the contest and meeting Jhanvi, he seeks to impress her by pretending to be a history professor. Then he has only five days to study about Ghandi before he gives a lecture to an elderly group of men abandoned by their children who reside in Jhanvi’s home.

A psychological phenomena moves the story forward and more complications among various stories become entwined. Lucky, a real estate developer, seeks to buy Jhanvi’s home as a wedding gift for, his daughter, Simran’s in-laws. To do this, he bribes a government official to prevent Jhanvi from renewing her lease, so he can grab the house. When Lucky realizes Munna’s love interest is Jhanvi, he treats Munna, Jhanvi and her residents to a vacation in Goa. Jhanvi’s residents provide their own twists to the story.

Munna is unable to express his love for Jhanvi because he has lied to her about himself. The trip is cut short when Jhanvi finds out her belongings are out on the street and her home now belongs to Lucky.

By this time, Munna and Jhanvi have created a radio show about Ghandi where Munna addresses callers’ problems with Ghandisms with a little help from Babu. Now, Munna has a bigger problem. How will he get Jhanvi’s home back?

The remainder of the story deals with Munna’s attempts to persuade Lucky to return Jhanvi’s home. He asks callers to send Lucky flowers in hopes he will “get well.” Jhanvi and her residents camp out on the sidewalk in front of Lucky’s home to protest the loss of their home. After Lucky lies about his daughter’s birth time to her future father-in-law because he is superstitious, Simran played by Diya Mirza learns of her father lies and deceptions. She runs away from the wedding and grabs a taxi ride driven by Victor D’Souza (Jimmy Shergill). Victor intervenes and calls Munna for advice. After the bride returns to the wedding and tells her in-laws the truth about her birth time, the father-in-law rejects her upon hearing the truth, Munna steps in to convince him that her courage and truth is more real than the astrologer’s predictions.

The ending, which resolved all the conflicts, did not conclude as abruptly as many Bollywood movies do; it was a pleasant surprise. This movie is delicious and mischievous.

What makes this movie exceptional besides the fact the story has a fresh approach is that it is a wonderful composition of comedy, drama, romance and inspiration. Both the Director, Rajkumar Hirani, and Producer, Vidhu Vinod Chopra, created a well-crafted movie.

The settings are a kick, like Munna’s hangout in the wash area where Munna and Circuit work out their schemes. Here they imagine Munna’s romance with Jhanvi in colorful, hysterical, funny and sweet visions of wedding ceremonies and dating scenes.

There are countless funny scenes. I still get a kick out of the opening parking lot vignette. Other funny and charming scenes include Munna studying in the library or the birthday party which is a stitch, a riot, over-the-top and the wedding songs in Goa are delightful. Others include where a neighbor spits tobacco juice on his neighbor’s apartment outside wall, or when a pensioner, who has been denied his pension for lack of money to pay a bribe, takes off his clothes to pay the bribe embarrassing the clerk

At times, Munna struggles to live by Ghandi’s philosophy, especially the idea of living truthfully, or turning the other cheek.

Arshad Warsi as Circuit, Munna’s thug sidekick, is great. He’s a natural. Warsi plays Circuit complete with gold necklaces, rings, and jewelry. He welds and twirls a knife and gun as extensions of his hands and is as easy with a threat as breathing.

Sanjay Dutt is a Bollywood bad boy but as Munna he comes across as a heavy with a heart of gold. While I have seen Sanjay Dutt in more extensive dance numbers, his simple yet delightful dance numbers added texture to the story.

The various multi-themed stories and choreography are woven expertly with the main storyline. The song-and-dance routines are what song-and-dance routines should be in a movie. They express desires, fantasies, hopes and joys seamlessly throughout the story. Because many take place “in-place” they fit the story. Even various cell phone ringtones seemed musically integrated into the story.

One actor I admire is Boman Irani. He is versatile. Irani can be charming, hilarious, subtle, menacing and more. He has an amazing ability to inhabit various characters. With just a new slant to his eyes, a small change in facial expression or posture, changes in hairstyles, and of course his various outfits, he is convincing as a scatter-brained school principal, a threatening police officer, a staid administrator, and now as a warm but manipulative real estate developer.

To me, this movie is what Bollywood is all about. The story is exuberant, warm, charming, textured, and comes from the heart.

Director (and Film Editor): Rajkumar Hirani
Producer: Vidhu Vinod Chopra, Vir Chopra, Anil Davda
Music: Shantanu Moitra
Cinematography: C.K. Muraleedharan
Choreography: Ganesh Acharya
Cast: Sanjay Dutt, Arshad Warsi, Vidya Balan, Boman Irani, Dilip Pradhavalkar, Diya Mirza, Jimmy Shergill and more.
144 minutes, color, Hindi, September 2006

Still following Bollywood but a Change in Residence has slowed me down

I am here in Utah on a temporary job.

I am far away from my Hindi movie theater. I have not found a movie theater in Utah that plays Hindi movies, yet. But, I just found a wonderful Indian restaurant, The Indian Oven, in Logan.

The restaurant had lovely table settings in blue and red with substantial blue cloth napkins. They had a buffet as well as a full menu. I had Vegetable Coconut Kuma and Ginger and Garllic Naan bread. I suspect the Naan was a Chef's own receipe. My meal was wonderful, all the spices were delightful and surprisingly, they blended well and none overwhelmed another. I always get a sweet Lassi which seems to fill me up but I like the beverage. I took home half the meal and the dessert, Gulab Jamun, which is one of my favorites. But, I was in such a hurry, I forgot to tip the waiter. I will be bringing some friends there soon, so I will catch up with him, then. Anyway, Indian meals are meant to be shared among friends and family with good conversation.

I did get a tip from the owner about a movie theater in Salt Lake City, so hopefully, I will be able to watch Shah Rukh Khan's new movie, Chak De India, which is supposed to release August 10, 2007!!!

Dil Se -- A War Protest Movie

It has only been 58 years since India gained independence from Britain in 1947. There were many bloody struggles in India’s war for independence and millions died during Partition when Muslims and Hindus either traveled to the newly created nation of Pakistan or from Pakistan into India. Kashmir is still in dispute and India has been fighting terrorism since independence as recent subway bombings in Mumbai illustrate.

There are many movies that illustrate the horrors of war in attempts to suggest peaceful alternatives. While war is fought by nations, it is carried out by individuals. Mani Rantam wrote and directed Dil Se as a sensitive portrait of two people with different views of war based on personal experiences.


Dil Se is a story of Amarkanth Varma, an idealist radio journalist, who meets and falls in love with a lonely young woman, Meghna, on a railroad platform. At first, their stories diverge as she catches the next train while Amar has gone to get her some hot tea.


I was enthralled with the movie from the opening credits. The director added small details that not only added texture to the story but later you realize he is also giving the viewer and the characters information that foreshadow the depth and complexities of the emotional conflicts to come. Little touches like in the opening scenes where Amar is dressed in a black shirt and red sports jacket and Meghna is dressed in a red dress but covered with a black shawl, almost as if to say Amar wears his heart on his sleeve and Meghna keeps her heart hidden from view. Another example is when Amar goes to fetch Meghna some tea, he jokes and tells her not to move because he has a bomb in his suitcase and it could explode. Later, this joke seems prophetic.

As part of his job as a radio producer, Amar (Shah Rukh Khan) gathers various man-on-the-street perspectives for a program about the upcoming 50th anniversary celebrations of Indian Independence. He hears from some that they have suffered more since independence and from others that India has prospered since independence. To expand his research, Amar seeks out the leader of a revolutionary movement. The leader’s main complaint is that the smaller outlying states of India were forgotten after the war for independence and many villages have suffered and continue to suffer in a multitude of ways. For Amar, whose father and grandfather served in the Indian army, he struggles to understand the dissents’ evaluation of their current treatment at the hands of the Indian government.

When Amar returns, he runs into Meghna (Manisha Koirala) but she claims she never met him before and they part. As you can imagine, Amar is confused. He is certain she is the girl he met on the train platform. Another day, he spies her making a phone call and he follows her. Again, she rejects him but this time he hitches a ride on the back of the bus she is on and he lands in her village. Here, Amar declares his love for her; again she rejects him claiming to be married. When Amar seeks to apologize to her, she sends several men to convince Amar that his pursuit is futile but in the ensuing fight, Amar learns she is not married and his hope is renewed.

While covering festivities in Lucknow, Amar glimpses Meghna in the crowd. He searches for her and finds her on a bus. As the police go down the aisle asking about identification and travel purposes, Meghna says she is Amar’s wife. Amar is more amused than suspicious by her change in attitude.

The bus travels north to the mountains. After it breaks down, the passengers gather their belongings and walk toward their destinations. Amar follows Meghna. Amar has been open and ardent about his feelings about her. She has continually rebuffed him but she appears to warm up a bit but not without visible internal emotional struggles that leave Amar and the viewer puzzled.

Late into the night, Meghna leaves while Amar is sleeping. She leaves a mysterious message in the sand. Amar returns to the city feeling he has lost her. He agrees to marry Preeti, a woman of his family’s choosing. Preeti (Preity Zinta) is a bouncing, cheerful girl. They find that they both have loved and lost, but it does not take her long to realize that Amar’s thoughts are elsewhere.

Amidst their wedding preparations, Meghna appears at Amar’s house with a girlfriend asking for temporary shelter and a job at All India Radio where Amar works. He agrees. Watching the emotional struggles play across their faces as Amar and Meghna participate in the wedding festivities pictures two confused, unhappy, young people. Both Shah Rukh Khan and Manisha capture the pain, confusion, and regret of their lost love just as Preity expresses the joys and hopes for her future.

Soon the festivities are disrupted when Amar discovers Meghna’s true purpose for coming to the city and working at All India Radio. Because he is still loves her, he thinks he can stop her. It is chaos from here on. Amar tries to piece together information of Meghna’s whereabouts before the police find her. He locates her near the parade route. When he confronts her about her treachery, he learns about her tragedies. He offers to give up everything for her and begs her to run away with him. She wants to go with him. She wants those dreams of love and family, but she also wants justice for her people. She refuses. He attempts to physically stop her but police intervene. Later, the police release him but thugs lay in wait and beat Amar up. When he returns home, Preeti confronts him as she bandages his wounds. She asks, “Should Meghna’s name be on these wedding invitations rather than mine?” He evades her questions. He is intent on stopping Meghna. The police raid the home and he dragged off to be questioned and drugged to elicit information but he escapes.

The action in these scenes is fast-paced and the emotions of all involved are heightened and intense. Amar still wants to save Meghna and she is tempted but his love can not offer her the solace she seeks. Amar makes the ultimate offer. He loves her and has accepted her pain.

For me, this is a well-crafted movie. Shah Rukh Khan’s and Manish Koirala’s performances are among the best I have seen. The choreography is incredible and inspiring.

I may have read somewhere that Amar’s love represents India’s pain over the loss of the territory of Pakistan, the horrible death and cruelty inflicted on so many Indians, and its longing to make amends. Meghna’s pain, desire for justice and love represents the desire of Pakistan to heal its rift with India because while war was initiated by governments, it was individuals who were affected.



1998, Color, Hindi, 163 minutes
Director: Mani Ratnam
Story/Screenplay: Mani Ratnam
Producer: Shekhar Kapoor, Ram Gopal Varma, Mani Ratnam
Cinematography: Santosh Sivan
Cast: Shahrukh Khan, Manisha Koirala, Preity Zinta and more.
Music: A.R. Rahman
Lyrics: Gulzar
Singers: Lata Mangeshkar, M.G. Sreekumar, Kavitha Krishnamoorthy, Sonu Nigam, Mahalakshmi, Udit Narayan, A.R. Rahman, Anupama, Anuradha, Sapna Awasthi, Sukwinder Singh

Don and The Departed: A Comparison

Before I begin this comparison, an explanation is needed.

It has happened. It probably happened a few Bollywood movies ago. The way I view Bollywood movies has changed. The initial intrigue and pleasure at finding a new form of filmmaking is wearing off. I have begun to expect more. The same process happened with Hollywood movies many years ago. When I read Bollywood critics lamenting about predictable plots, poor acting, contrived stories, and excessive violence and sexuality, they echo my sentiments about Hollywood movies.

Both Hollywood and Bollywood followed parallel paths in movie making after the Lumiere brothers toured Bombay, London and New York making presentations of moving pictures without sound around 1896 (source: http://en.wikipedia.org/wiki/Auguste_and_Louis_Lumière). Early moving pictures were in black and white or sepia. Color came later. Technical developments continue to improve the quality of filmmaking. India’s first feature film was Raja Harishchanra, released May 3, 1913 in Mumbai. Then came talkies. Alam Ara was released March 14, 1931. (Source: The Bollywood Saga, 2002).

Since I am not paid to write movies reviews, when I buy a movie ticket, I have a vested interest in the movie. The level of my satisfaction seems linked to my expectations whether the movie will be good or bad. Also, if I am not drawn into the story usually by caring about the outcome through finding sympathy with one or more characters, I am unable to suspend disbelief to accept various ploys in the storyline.

I balk at writing a review for a movie I did not like personally for whatever reason. After seeing Don, a Bollywood gangster movie featuring several top Bollywood stars, I thought a comparison between Don and The Departed, a Hollywood gangster movie featuring several top Hollywood stars, would be interesting.

These movies share many similarities. Both are “gangster” movies. In Hollywood, The Godfather is considered the gold standard for gangster movies. In Bollywood, several movies such as Company, Sarkar, or Satya could compete for that label. In these two movies, each has a plot that revolves around an undercover agent embedded in a major criminal network. Each has a multi-star cast, a well-known director, and excellent technical crews. Both were set in well-known locales, Malaysia and Boston. Neither had a significant female character. Both had large budgets. Both display a preponderance of violence, intimidation, and amoral behavior glorified as entertainment.

Don – the Chase

This review should have been written from the viewpoint of a young male for the audience was full of young males who whooped when Priyanka Chopra was on the screen. There are many ways to enjoy a movie. Maybe it is the actors, or the music, or the choreography, or the story, or the cinematography. Usually, it is some combination of these elements. But, I found no magical combination in Don.


The murder of a drug gang associate initiates a series of deceptions where rival gangs fight to gain control over the Malaysian drug trade while law enforcement officers seek to capture the leader of one rival gang, “Don,” in order to uncover the top drug trafficker. (Image source: http://www.thehimalayantimes.com/Aeon/News/2006/10/22/images/200610211516497.jpg).

Civilians intervene in the story. The sister of the murdered associate, Kamini, played by Kareena Kapoor, and the associate’s fiancée, Roma, played by Priyanka Chopra, seek revenge. One attempts to seduce “Don,” the other infiltrates the gang to assist in “Don’s” capture.

Sadly, criminals and law enforcement officers take turns being stupid in order to move the story forward. Characters from both camps have access to a wealth of expensive surveillance equipment yet get caught, escape, or ‘lose” evidence easily.

The crux of the story is whether a “Don” look-alike planted into the Don’s organization can uncover the top drug trafficker before the look-a-like is discovered.

Shah Rukh Khan (SRK), who plays dual roles as the “Don” and Vijay, the “Don” look-a-like, gave an uneven performance. Each scene is more of a vignette than a string of scenes that tell a story, so the moods of SRK’s characters are inconsistent from vignette to vignette. Rather than building to episodic mini-climaxes, the scenes fall flat. So, fear of capture or exposure is never fully developed. DCP DeSilva’s character (Boman Irani) is the thread that holds the story together and whose mood sets the tone from vignette to vignette.

The clothing, settings, and dances were stale and there was no chemistry in the various interactions among the maze of characters.

While the males loved Priyanka Chopra, who is a pretty woman and a lovely person, she has a limited range of expressions. I detected two expressions in her repertoire, a little pout when she is sad/angry/stoic and a little smile when she is happy/sexy/joyful. She is stiff in every scene. Remember, this is a movie not a beauty pageant; these are two different visual formats. But, it dawned on me, in simple terms, maybe males enjoy seeing car chases, explosions, fights, undulating half-dressed women over and over again, regardless of whether the acting is good or the story is well told, and females enjoy watching romantic scenes, harmonious familial interaction, stories where good triumphs over evil over and over again, regardless of whether the acting is good or the story is well told.

The most important element in telling a story is to get the moviegoer to care about the characters, then they care about the outcome. But, possibly, from a male’s perspective, what is important is the absence of feelings other than a greed for power and money. While the ending was a bit of surprise, it had no emotional impact.

Director: Farhan Akhtar, Producer: Ritesh Sidhwani. Cast: Shah Rukh Khan, Priyanka Chopra, Arjun Rampal, Kareena Kapoor, Isha Koppikar, Boman Irani and more.
Color, Hindi, 168 minutes, available on DVD at www.erosentertainment.com


The Departed

An early scene tells the viewer what the movie is about – Irish Catholic criminal gangs war with Irish Catholic police with lots of graphic murders and violence in Boston.

The multi-star cast features Matt Damon as Colin Sullivan, a former choir boy, who becomes a police officer. Because Colin feels indebted to local gangster, Frank Costello, he also serves as a plant for Costello. Damon’s acting does not vary from his previous Bourne roles. He never convinced me of his mixed loyalties.

Nicholson plays Costello as a sleazy, aging, drooling, hysterical warlock. Portraying the aging gangster in such a sick manner should be a disincentive to future gangster-wannabes.

Leonardo DeCaprio plays William Costigan, a Southie from a hopeless family, who also becomes a police officer but is intimidated by higher ups to become a plant inside the Costello organization. DeCaprio works hard to lose his pretty boy looks and is quite the grim, intense, brooding young man. (Image source: http://www.themovieblog.com/archives/Departed-Poster.jpg)

The story follows William from bars to brawls to back streets to secret warehouse meetings. The story also follows Colin from office to home and back with an unrelenting sameness. The moviegoer knows from the start that William and Colin are plants unknown to each other.

Other co-workers played by Alec Baldwin, David O’Hara, Mark Wahlberg, Martin Sheen, and a host of others scream at each other all the time exhibiting a host of prejudices and immature behavior. It is a wonder they manage to accomplish anything significant given the lack of cooperation and suspicion.

How many curse words does it take to convince the moviegoer that these are mean bad-ass dudes or should I say duds since the story was laced with concern over penal function?

A mental health professional played by Vera Farmiga serves as a focal point in the lives of Colin and William. The role was meant to add tension but her role is insignificant. When Colin quotes Freud to her saying “The Irish are impervious to psychoanalysis,” he tells her, “and you have a client list full of mic cops,” that sums up the futility of her position in the movie. (Image source: http://www.scorsesefilms.com/photos/images/matt-damon-departed-uniform04.jpg)

The dialogue is a string of crude jokes mixed with cursing and screaming where everyone thinks everyone else is the plant. It is almost funny. The actors looked like they enjoyed making the movie. They spent the whole movie cussing, fighting, and killing each other. They must have had great fun with the multitude of bursting blood capsules every time someone was shot. (Image source: http://media3.washingtonpost.com/wp- dyn/content/photo/2006/10/05/PH2006100501860.jpg)

No character evolved. Again, the cops and the criminals have to be stupid in order to move the story forward and the use of cell phones is central to the story. The ending was contrived.

So was the point of these movies that violence exists and there is nothing anyone can do about it? Sadly, the form, style, length, and storyline of these two movies are so similar that the only difference is that one is in English and one is in Hindi.

In the end, maybe some of the criticisms I have for these “rooster-flicks” are shared by men who can not find anything to like about “chick-flicks.”

Director: Martin Scorsese, Producer: Brad Grey and Michael Aguilar. Cast: Leonardo DiCaprio, Matt Damon, Jack Nicholson, Mark Wahlberg, Martin Sheen, Vera Farmiga and more.
Color, English, 151 minutes, available in DVD at www.amazon.com

What Happened to Farah Khan's Happy New Year?

Did I miss something? First, there's the big build up about casting and shooting, then nothing.

Kabhi Alvida Naa Kehna (Never Say Goodbye)

(image source: http://i.indiafm.com/img/feature/06/aug/kank1.jpg)

KANK is an intense adult drama. It opens with snippets of scenes giving a glimpse of each of the main characters’ lives at the present time, featuring five of Bollywood’s top stars: Ambitah Bachchan, Shah Rukh Khan, Rani Mukherjee, Abhishek Bachchan, and Preity Zinta.

Dev Saran (Shah Rukh Khan) has just won a major soccer match which will garner him offers with great financial opportunities, at the same time, his wife, Rhea (Preity Zinta) has landed a job at a fashion magazine. They are high-powered, ambitious people. They meet in college and married.

Shift to Rishi Talwar (Abhishek Bachchan) who is in a frantic rush to get to his wedding ceremony. Dev’s mother, Kamaljit (Kirron Kher), is the wedding’s caterer. The lives of the two couples intersect when Dev stops by to see her. The wedding ceremony has not begun because the bride is delayed. Dev wanders the house grounds and finds the bride, Maya (Rani Mukherjee), sitting on a bench. It is clear she is having doubts about getting married.

Dev tries to lighten her mood. He asks if she loves her future husband. She says they have been friends since childhood. He asks her again, “Do you love him?” “When there is friendship, there is little room for love”, is her response. Dev suggests she learn to make do with little love stories.

Maya asks him, “Do you love your wife?” He replies, “We are happy.” Maya wants to know, “Do you wait for love?” After more discussion, Dev says, “Goodbye.” Maya stops him, “Don’t say goodbye, it kills the hope of meeting again.” They part and both look back with wonder. Sadly, Dev is distracted by their conversation and fails to see a oncoming car.

The movie picks up again four years later and Dev is a changed man. His injuries from the car accident terminated his sports career. He is angry and bitter. He is rude to strangers and his family. To avoid conflict, Rhea focuses on her job with “Diva”, the fashion magazine. Dev coaches his son's, Arjun (Arjun Rampal), soccer team but he is impatient and harsh with the children. Dev feels his reduced state acutely not just because he can no longer play sports but also because his wife supports him.

















(image source: http://www.indiatarget.com/stills/slide_show/kak1.jpg)

Maya’s relationship with Rishi is more like mother and son. While Rishi is passionate about his love for Maya, she is in conflict with her feelings. Rishi’s father, Sam (Amitabh Bachchan), a widower, adds color to the story as he pops in and out of everyone’s life with a different young beauty on his arm each time.

Dev and Maya run into each other again and Maya tells him, “If I had not met you, I would not have married.” Dev replies, “If I had not meet you, my life would have been different. We are both wounded.”

Various misunderstandings complicate the story. Both couples have different expectations of each other. No one is a true villain.

In frustration, Dev and Maya become confidants hoping to help each other in their relationships. They begin to meet regularly at the train station. The train station becomes an analogy for their stalled relationships, which are always moving but going nowhere. Gradually, Dev begins to realize he feels different about himself when he was with Maya.

The intensity of Rishi’s frustration, Maya’s disappointment, Dev’s anger, and Rhea’s distraction symbolize their desire for the greatest of all relationships that of husband and wife. Each felt when you married, you married your soulmate.

Another aspect of the relationships is their mismatched ambitions. In the beginning, Dev was as ambitious as his wife but after his injury, he never recovered from the loss of his career. Maya is uncomfortable with Rishi’s fast and flashy lifestyle. Rhea is caught up in her new business venture.

At their best, couples grow as individuals and as a couple with shared interests. At their worst, couples tear each other apart. Both couples recognize their relationships need help and they make attempts to repair them. Each partner in the two relationships illustrate that there are many doors to the heart and not everyone finds the right door.

Eventually, Maya and Dev acknowledge their love for each other as their marriages deteriorate. While Maya and Dev try to sustain both their relationship and their marriages, their spouses are unaware of their partners’ actions. It makes you wonder if anyone knows what is in another’s heart.








(image source: http://i.indiafm.com/img/feature/06/aug/kank1.jpg)

Dev shows the least concern for how his actions will affect others. Maya had hoped for friendship then seemed unable to stop herself from crossing the line into romantic love. Rishi thought flowers and sweet words were all that was needed for a relationship to work. Rhea valued her business success over the success of her marriage.

Dev is often coarse and cruel. He uses his wife to make Maya insecure. Dev also becomes jealous of Rishi. Love has not encouraged Dev to grow emotionally; he becomes more brutal in his relationships.

Once Dev and Maya cross the line into intimacy, they enter the world of betrayal and lies. The pressure of their illicit relationship drives Dev to joke at a family dinner that he has fallen in love with another woman, Maya. Dev then treats Maya cruelly when he says he won’t leave his wife.

But what is also reflected in each couple is that they married young and as they changed they grew apart. They also lived in a fast-paced, money-driven society with lots of trappings and distractions. Neither relationship seemed grounded.

Dev and Maya break off their relationship believing if they tell the truth they could save their marriages. When Dev tells his wife he has strayed from the marriage but wants to give the marriage another chance, Rhea throws him out. Rishi confronts Maya and asks her to leave. Dev and Maya pretend to each other that their spouses will forgive them. Yet, each leaves for different jobs in different towns.

Observations: Do not tell me Shah Rukh Khan cannot act. SRK played the Dev character so convincingly; I forgot he was Shah Rukh Khan. Also, there are many “inside” references, humorous moments, and guest appearances.

Pleasures: Karan Johar handled the difficult scenes with taste.

Disappointments: Karan Johar has made a Bollywood film with little reference to India or the Hindu religion. The story seemed to lack an anchor or a cultural context, almost as if the setting, New York City, was a culture unto itself and sufficient for a cultural foundation. I found the culture empty, devoid of any fundamental beliefs or moral guidance. Also, while the song and dance routines offer some light moments in this intense drama, the huge disco scenes were impersonal, and lacked the crisp coordination and stylized look that make dance numbers special.

3:25 minutes, Hindi with English captions, Color
Writer and Director: Karan Johar
Producer: Anadil Hossain
Music: Shankar Madadevan, Loy Mendonsa and Ehsaan Noorani
Cinematography: Anil Mehta
Art Direction: Sharmishta Roy
Choreography: Farah Khan
(source: http://www.imdb.com/title/tt0449999/)

Krrish

2006; Hindi with English subtitles; 154 minutes




(source: http://www.chinapress.com.my/data%5C2006-07-02%5Centertainment%5C0702pen91.jpg)


I was looking forward to Krrish because I hoped it would showcase Hrithik Roshan’s skills as a dancer and his physical prowess. Krrish does illustrate Hrithik’s admirable physique, and his grace and agility in cinematographically beautiful settings that include a variety of delightful special effects. But, except for the introduction of Hrithik’s character, Krishna, the storyline flounders and few of the secondary characters are adequately developed to elicit sympathy.

I have always defended Bollywood filmmakers when they made a story similar to a Hollywood story because I felt they kept the universals of the story and made the characters, settings, and conflicts sufficiently different. Sadly, with Krrish, it was like watching a compilation of several movies. In Tarzan-like fashion, Krishna meets in his love interest in the forest. A ghost story gimmick seems to mimic the Blair Witch Project. The bad guy, Dr. Arya, wants to invent a computer that can see into the future, much like Paycheck, and who had an enormous facility on an island like Dr. No. Then, there were the alien communications like ET and Close Encounters.

I am aware that in many Bollywood movies images, bits of dialogue, snippets of songs and more from other movies are inserted to add entertainment value and pay homage to well-loved movies but I never felt that whole sections of the referenced movies were inserted into the current movie like I did with Krrish.




(source: http://img.indiaglitz.com/hindi/wallpaper/MOVIES/krrish/krrish11_800_080506.jpg)


In Krrish, few of the usual underlying moral premises are stated clearly – familial loyalty is there and occasionally the idea that fighting for a good cause is heroic is stated but for the rest of the movie the characters seem to be sensation-seekers out for money, fame, or power.

Unfortunately, I have come to a place in my Bollywood film watching where the novelty is wearing off and I have begun to expect more. This is not always good. It is easy to criticize. Movie making is a tough business. I recognize how hard it is for a director to film a story for far-flung audiences with wide-ranging, changing expectations.

Krrish is a sequel to Koi…Mil Gaya and the previous story is woven into the present story. Krishna is the son of Rohit, a man who encountered an alien and was changed physically and mentally. But, at Krishna’s birth, disaster struck and he lost his parents. Krishna’s grandmother has taken him into the countryside to keep him from public view for fear of his safety. As the child grows, he exhibits extraordinary powers but while he enjoys using them, his grandmother continues to warn him about appearing different.

Priya, Krishna’s love interest, played by Priyanka Chopra, is portrayed as a vain, stupid girl who lacks integrity. She is not an intrepid reporter like Sridevi’s Seema Sohni in Mr. India. Nor does she have the backbone of Manisha Koirala’s Meghan in Dil Se. There is little drama in various obstacles to Krrish’s love for Pryia which I missed because Pryia’s character never developed beyond a pretty girl more worried about her clothes than any conflicting values in her life. Again, it is easy to criticize – few women can handle the stunts required for Bollywood movies, but I wanted to see something like Rani’s zest, she throws herself into her roles, while she is beautiful, she is more physically comfortable with wild and wacky stunts. I missed Madhuri’s wide range of emotional expressions. I missed Kajol’s joie de vivre. I missed Nagris’s melodrama. Chopra is more like eye candy for males. It was hard for me to maintain interest in the story when Priya kept getting Krishna into trouble with her lies.

The bright spots were when Hrithik was on screen. Hrithik appeared to enjoy doing the various stunts. He is a gorgeous human being. He has an abundance of grace and style. I will never get tired of watching him move. He is a splendid dancer and a great martial arts student. I hope Hrithik finds a character or theme where he can continue to demonstrate the beauty of his well-kept physique. On top of all that – he a good person and it comes across on screen much like Shah Rukh Khan.












(source: http://img.stopklatka.pl/wydarzenia/32000/32000/32089-01.jpg)

While the ending was sappy, it was still tearful. While the Krrish character was original, the story was not.

Regrets: Missed the full-blown emotional tug-of-war and the lack of originality in the story.

Pleasures: Watching Hrithik dance and do martial arts stunts; the countryside scenery and the scenes shot in Singapore. Also, the circus scenes were fantastic and seemed to stand out from the rest of the movie.

Credits:
(Source: http://www.imdb.com/title/tt0432637/)

Director and Producer: Rakesh Roshan

Writing credits: Screenplay -- Robin Bhatt, Sachin Bhowmick, Honey Irani, Akash Khurana, and Rakesh Roshan; Dialogue -- Sanjay Masoom

Cast: Rekha, Hrithik Roshan, Priyanka Chopra, Sharat Saxena, Puneet Issar, Hemant Pandey, Manini De, Naseeruddin Shah, Preity Zinta, Kiran Juneja, Archana Puran Singh

Music: Salim Merchant, Suleman Merchant, Rajesh Roshan

Cinematography: Piyush Shah, Santosh Thundiiayil

Art Direction: Samir Chanda

Visual Effects: Marc Kolbe, Craig A. Mumma

Stunts: Siu-Tung Ching (choreographer and stunts), Shyam Kaushal (stunt coordinator)

Kajol is Back in Fanaa

I caught Fanaa, opening night, and it was a full house.

How does one write a movie review without giving away the plot?

In Fanaa, Kajol plays Zooni, a young blind girl on her first venture away from her home in Kashmir. In the story, Zooni’s blindness illustrates that sometimes we see things with our hearts but we are blind to dangers and deceit, and with sight sometimes we do not see the real person in front of us.

Zooni travels with a troupe of dancers to Delhi to perform in part of the Independence Day celebrations. Included in the trip are several days of tours of the historic sites in Delhi. The group has arranged for a bus and a guide. The guide is a charming rouge, Rehan, played by Aamir Khan. Khan plays Rehan with both charm and cruelty. He admits openly he only wants to satisfy his own desires and that he does not believe in love as he flirts with the girls. But he falls in love with Zooni and she falls in love with him. Rehan is every young girl’s parents’ nightmare.

(image source: http://www.ndtv.com/images/topstories/fanaa.jpg)

A Bollywood movie doesn’t cut to the chase as quickly as a Hollywood film. Various aspects of the characters and sub-plots are given time to develop before the central conflict is unfolded.

The cinematography is stunning. It is as if the cameraman is in love with India. Delhi is shown in a rainbow of colors, shining and majestic. Yet, Rehan shows Zooni the dark side of Delhi’s history, too. Kashmir is pictured like a winter wonderland with endless vistas of beautiful snow capped mountains. The camera captured the silence and wonder of snow.

Director Kunal Kohli blends many of the musical interludes with the story almost seamlessly. There is one musical number choreographed with a large number of dancers, the rest of the musical interludes lets the music simply touch the characters as the story moves forward which I think represents Indians’ love of music and poetry as part of their daily lives. Later in the movie, the fantasy love scenes are shot in wonderful blue and white settings and each love scene is done tastefully.

Interwoven into this love story is the continuing story of terrorism. This time it is the battle over Kashmir. Zooni loses Rehan to terrorism before she returns home to Kashmir.

At the interlude, the story changes from a love story to suspense. India’s counter-terrorism organization is tracking a terrorist group that has had success over the years in bombing various important cultural and political sites. Tabu is dead-on as the organization’s agent who works to build a psychological profile of the group’s mastermind even as agents within the organization seek to thwart her efforts. The organization seeks to capture this mastermind before the terrorist group’s final plan is carried out. The plan threatens to kill millions of Indians. The premise the terrorist group uses in its defense is if we are sufficiently armed and are perceived as a threat of massive proportion then we can affect the balance of power and achieve our goal – independence for Kashmir. Isn’t that the premise behind every nation that has nuclear weapons?

At the heart of many Bollywood movies are human relationships and the importance of family.

Zooni is a meaty role for Kajol and she carries it off beautifully. As a young blind girl, Zooni is gentle, loving and hopeful. Later in the film, Zooni is a single mother. She is older, wiser, and she is fiercely protective of her family. Aamir Khan’s character, Rehan, is a man torn between loyalties and desires. At first, he is seen as a self-centered charmer who preys on young women. He has cut himself off from his emotions. Then he falls in love with Zooni and he battles his emotions in a struggle over his loyalties. Is he loyal to his love for Zooni, or is he loyal to his former life? Khan’s character believes that loyalty to a belief carries more weight than loyalty to love, even familial love.


I know little about Aamir Khan’s earlier movies, but in his recent movies such as Laagan, Mangal Pandey, Rang de Basanti, and now Fanaa, it seems that Khan is selecting stories that portray a gritty realism. In these films, Khan is carving out a particular type of role for himself. He does not want to be the lover; he wants to be a man of action. Yet, when he must play the lover, he does so reluctantly. He struggles with the emotion of love, literally fighting himself to keep from falling in love. When he is a man of action, he wants to be rational, unaffected by emotion, and loyal to his vision. But loyalty can also be a strong emotion. Khan wants to play to a male audience who feels it is manlier to be pragmatic than to a female audience who feels love is central to life. Yet, when his character, Rehan, feels he must choose love or loyalty, the war between his competing desires plays across his face. (image source: http://blog.chosun.com/web_file/blog/25/25/1/Fanaa.jpg)

Whereas, as a woman, Kajol’s character’s struggle is not choosing between two strong desires. For her, love is part of life, just as is loyalty. She thought love could heal, love could change a person, love could make a prince out of a beggar. Her struggle is in loving a flawed human being and learning that love can be shattered by deceit. In a way, Zooni’s character is torn because she is forced to make a choice she never imagined she would have to make.

Pleasures: It is great to have Kajol back on the big screen. Plus, the costumes were fresh and vibrant. The shots of Delhi and the snowy mountain scenes were beautiful.

Regrets: The ending was too similar to the "Key to Rebecca" by Ken Follett.

FYI: Fanaa -- is an Urdu word which means annihilation. In Sufi tradition, it also means destroyed in love. (source: http://www.imdb.com/title/tt0439662/trivia)

Director: Kunal Kohli
Producers: Yash and Aditya Chopra
Executive producer: Sanjay Shivalkar
Music: Jatin Pandit, Lalit Pandit
Cinematography: Ravi K. Chandran
Choreographer: Saroj Khan
Runtime: 168 minutes

Sholay: A Flash from the Past

Sholay (Flames)

1975; 204 minutes; Hindi with English subtitles

Director: Ramesh Sippy
Producer: G.P. Sippy
Writer: Javed Akhtar, Salim Khan
Music: Rahul Dev Burman
Cinematography: Dwarka Divecha
Playback singers: Rahul Dev Burman, basu Deo chakravarty, Babu Ghanekar; Shankar Lal; Maqbool
Dances: P.R.L. Raman
Cast: Dharmendra, Amitabh Bachchan, Sanjeev Kumar, Hema Malini, Jaya Bhaduri, Amjad Khan, A.K. Hangal, Satyen Kappu, Leela Misra and more



Sholay is considered an Indian movie classic. I enjoyed most of this film, which starts with an eye-popping shoot-out, followed by chase scenes through the backcountry, and canyons of rural India. The cinematography is excellent. The camera work is a blend of styles including fast action, slow motion, and panoramic views. But, eventually, the relentless scenes of violence wore me down.

Many of the performances were enjoyable. I thought Dharmendra (Veeru) was smashing and Amitabh Bachchan’s (Jai) onscreen persona crackles with energy and emotion. Sanjeev Kumar plays the village chief, Thakur Singh, with dignity and Hema Malini’s character, Basanti, bounces with charm.




In essence, the village chief, Thakur Baldev Singh, a retired police officer, asks a fellow police officer to track down two criminals (Veeru and Jai) he met in the past to ask them to come to his village and help him end the tyranny of a local thug, Gabbar Singh (Amjad Khan) because he thinks they are brave and have the potential to be decent human beings. When the police officer questions his judgment saying, “A fake coin is a fake coin.” He replies, “a man is not a coin.”

The criminals, Jai and Veeru, have been a team for sometime and travel from con to theft to scam as they escape just ahead of capture, most of the time.

What starts out as a buddy flick becomes a civil war between Thakur Baldev Singh, Veeru and Jai, and Gabbar Singh’s gang of thugs.



Many other characters intervene in the story like S. Bhoplai, the greedy shopkeeper; the inept prison warden, a Hitler look-alike, who states he doesn’t believe in reform because “How can you change, if I can’t change?”; Hariram, the jail barber and squealer; and the chatty buggy driver, Basanti (Hema Malini).

Gabbar Singh, the thug who terrorizes the village, is a piece of work. He plays Russian roulette with his men when they run from the village under gunfire. While at first, none of the men are shot, you know what’s coming.

Thugs attack the village and the village protectors retaliate, back and forth, with one horror after another. When the thugs break up the village Holi celebration, it’s like a shoot-out at the OK Corral.

Thakur and Gabbar have a long history. Gabbar killed Thakur’s brother’s family as revenge for Thakur imprisoning him.

Scenes of normal events of life break the flow of constant conflict. Veeru has fallen in love with Basanti. Jai goes to Basanti’s Aunt to plead Veeru’s case. Instead, he paints a poor picture of his friend’s lifestyle scuttling Veeru’s chances to marry Basanti. But, that’s not the end of this substory.

Veeru wants to settle down. Jai isn’t ready though he shows a quiet interest in Thakur’s widowed daughter-in-law, Radha (Jaya Bhaduri).

In one raid, Gabbar kidnaps Basanti. Veeru follows and is captured. Gabbar forces Basanti to dance to save him. When Basanti dances, she endures many humiliations and agonies showing her strength of will much like a fight scene does for the hero.



So much horror and tragedy is perpetrated by Gabbar, I wanted to shoot him myself just to end the relentless torture.

At one point, the villagers have had enough of the violence, too, and question whether all the killings are worth the refusal to give Gabbar the protection payment. One man says, “We are farmers not soldiers.” Another replies, “To lead an honorable life, there is a price.” When an elderly and blind villager loses his son to the violence, he refuses to give in to Gabbar’s violence and threats saying, “An honorable death is better than a life of humiliation.”

The ending is a mixture of sorrow and survival.

Chocolate is not Sweet

WARNING: this movie shows scenes of gang rape, group sex, prostitution, and gratuitous violence as pleasurable and desirable activities.

Most offensive scene: a glimpse of a gang rape was subliminally slipped into one of the pornographic song and dance routines. This is mind rape not “entertainment.”

Some Bollywood critics complain their movies need to be more realistic, more “westernized” to be accepted internationally. If this film is an example of a “westernized” Bollywood film, then the soul of Bollywood has been lost.

This is a gangster movie produced by those who want to see the criminal lifestyle glamorized and to make money off portraying titillating acts of violence, murder, robbery, pornography, and prostitution geared toward a youthful male audience.

This is not a family movie.

The theme of this movie is “money is power and with power you can do anything you want.”

The story of how two members of a London musical group came to be arrested for murder and robbery is not a story about good versus evil. It is just a story of evil.

The acting is sullen and unimaginative. None of the characters are sympathetic. I never cared what happened to them. They were middle-class, self-absorbed petty criminals.

The song and dance scenes are pornographic and inconsequential. Visual pornography, in my mind, is when scenes of gang rape, group sex, or other sexually twisted behaviors are shown in their entirety as if to fill the minds of the audience because they lack an imagination. Pornography is meant to make those who feel powerless in life, to feel powerful momentarily. Pornography usually shows one or more persons in a “dominant” position, a position with the power over the life of a “submissive” person. Pornography usually shows the “submissive” person performing degrading acts of sex or violence or having degrading acts of sex or violence performed upon them. Pornography is joyless and humorless.

The person, who participates in pornographic acts of gang rape, group sex, or other sexually twisted or violent behaviors because they think it is cool, do not realize they have sold their soul in the process.

In addition, pornography, which can be visual or verbal, is made to stimulate a primitive part brain that responses, psychologically and physically, to violent or sexual stimuli, in attempt to encourage people to enjoy this type of behavior, to give them a momentary sense of power, and to numb them to the consequences of this behavior so that they begin to accept this behavior as “normal.”

Ask yourself – who controls your mind?

Regret: I am sorry Anil Kapoor lent his name to this film. He plays a London lawyer attempting to help the two arrested Indian musicians.. Anil’s character, Krish, seemed laden with accoutrements like he was drowning in an excess of material goods and self-advertisement.


(image source: http://www.bollyfm.com/chocolate_cover.jpg )

Producer: Spice Entertainment
Director: Vivek Agnihotri
Starring: Irrfan Khan, Anil Kapoor, Arshad Warsi, Suniel Shetty, Emraan Hashmi, Tanushree Dutta and Sushma Reddy.
Music:Pritam
Lyrics: Mayur Puri, Praveen Bhardwaj, Dev Kohli, Ajeet Srivastava

Film Festivals and Bollywood

One way to show your enthusiasm and support for Bollywood films is to attend a film festival showing Bollywood films, especially new ones.

The link above is just one of many that lists a variety of film festivals.

In Washington, DC, near where I live there are several film festivals --

DCIFF (DC Independent Film Festival)
March 2 - March 12
There are several Indian-based films in the festival.

In Quest for the Spectacular by Aunshuman Apte
About an actor in Mumbai trying to make it in Bollywood.
Sunday, 3/12/2006 2:20pm
Avalon Theatre

Lucky by Kristen Palana
An young Indian American woman faces an arranged marriage while trying to live the American dream.
Friday, 3/10/2006 9:10pm
Jewish Community Center

Ordinary Lives by Sheetal Agarwal
Documents the struggles of a family of ten living in a 180 square feet shack in Mumbai.
Wednesday, 3/8/2006 12:00 pm
Gala Theatre -- Tivoli

Truck of Dreams by Arun Kumar
Parallel stories of Bollywood -- of a truck carrying Bollywood movies to outlying villages and the dreams of a village girl.
Friday, 3/10/2006 9:10pm
Jewish Community Center


DC Film Fest
April 19 - April 30, 2006
In last year's festival, several Indian films were shown such as Raincoat, Dil Se, and Mughal-e-Azam. Films are shown at several area theaters. The website www.filmfestdc.org does not list the 2006 film program yet, so keep watching the site for the listing.

Maryland Film Festival/Baltimore
May 11 - May 14


Silver Docs
June 13 - June 18


Will update post with information as I find it.

Rang de Basanti

Director: Rakyesh Mehra
Producer: Rakyesh Mehra, Ronnie Screwvala
Cinematography: Binod Pradhan
Music: A.R. Rahman
Lyrics: Prasoon Joshi, Nacim and Blaaze
Screenplay: Rensil Dsilva
Art Direction: Allan Amin
Cast: Aamir Khan, Alice Patten, Madhavan, Soha Ali Khan, Kunal Kapoor, Siddharth, Sharman Joshi, Atul Kulkarmni, Kirron Kher, Waheeda Rehman, Anupam Kher


Quick Take: Historic events of the Indian revolt against British colonialism are set against the backdrop of the lives of present-day college students. The film is beautifully shot. Scenes are fluid and realistic. Music is treated as background more like Muszak than performances. Aamir Khan’s acting is layered, subtle, and superb. He generously shares the screen with the other actri, each of whom portrays their varied characters with energy and believability. The story is a call to idealism with a terrible twist at the end that echoes with images of Tiananmen Square.

Review

The opening prison scene in sepia sets the stage for the blend of past and present as reenactments of British acts of brutal suppression of Indians seeking freedom from their colonial yoke mix with images of rowdy college students filming a documentary of Indian revolutionaries Bhagat Singh, Rajguru, Ashfaqulla Khan, Ram Prasad Bismil, Durga Bhabhi and Chandrashekhar Azad.

The story of a young British woman’s goal of making a documentary of the Indian revolutionaries inspired by her grandfather’s diary wraps around the present day story of the lives of young college students. Her grandfather, Major McKinley, participated in Britain’s attempts to squelch rising protests after World War I by capturing, torturing, and hanging the young revolutionaries. His diary entries foretell the fall of Britain’s rule of India.

After Sue’s (Alice Patten) production company nixes the project she has been working on for two years, she packs up her materials and goes to India to make the documentary on her own. She stays with a friend, Sonia (Soha Ali Khan) on a college campus and begins to audition students for the roles. The auditions are humorous much like “American Idol.” Frustrated she has not found anyone to play the revolutionaries, Sonia, takes Sue to a party to lift her spirits.

Bonfires, beer, music, and pranks entertain the crowd of students at the party. Sonia greets several students and laughs at their antics. DJ (Aamir Khan) is seen with a friend atop a stonewall drinking beer while bending backwards over the river below to see who can drink the most without falling in. As Sue watches, she realizes Sonia’s friends would be perfect for her documentary and enlists Sonia to help persuade them to act in her film. Sue joins in the party as the students dance and gyrate randomly on the beach to western music.

Scenes of fast cars and motorcycles, drinking, and seeking easy sexual favors from girls flash by as the students head toward DJ’s home. There, as the group eats dinner, scenes from the past blend with the present as the story of the revolutionaries continues in flashbacks. Sue implores them to help her saying, “They were heroes. They fought for their country’s freedom.” The students are unimpressed. Later DJ tries to explain to Sue why they seem aimless and why he and the others love college. Their country is over-populated, has major unemployment problems and other seemingly insurmountable problems. In college, we are masters of our destinies. After college, we are at the mercy of fate. At least on campus, I am somebody. But when I get out I will be nameless, faceless, lost in the crowd.”

Gradually, we meet each student. Karan’s father (Anupam Kher), who is rich, greets his son with questions. Has Karan decided which American college he will attend? When Karan (Sidddharth) mutters a few words, his father says in disgust, “Yours is the SMS generation, no conversation beyond four lines.” His father fails to see his son’s confusion and need for a goal beyond making money. A phone call regarding the sale of cheap airplane parts interrupts their interaction.

Laxman’s Muslim family berates him for his associations with non-Muslims saying “This country has never accepted Muslims.” To which Laxman (Atul Kulkarni) replies, “I can not fill myself with hate.”

India’s fight for independence from British Imperialism was harder for their nation than it was for the American colonies. The American colonists had vanquished the native population through murder, disease, and relocation, so they only had the British army to fight. Whereas in India, hundreds of tribes of various religious beliefs had existed for thousands of years, internal conflict among the various groups kept the population from uniting against British rule. But, the young revolutionaries were Hindi, Muslim, and Sikh. They had overcome their differences to fight for a greater cause, the freedom of their country. That Sue, a Britain, has to explain this to the students is ironic. One student remarked, “They would call you nuts today, if you said you wanted to fight for your country.”

Eventually, the students agree to do the documentary and many scenes follow of the rehearsals mixed with youthful outings and pranks. In the face of what they think their world has become, they do not feel they have anything in common with the revolutionaries they portray.

The massacre of hundreds of unarmed people in Jallianwallah Bagh on April 13, 1919, by the British, was the spark that set off the revolution. The event is reflected in horrific reenactment flashbacks. This act of violence turned a non-violent people into revolutionaries.

Music scenes are shot to blend with the story. Essentially, the students prance to a musical background of youthful songs as they carouse in the city streets.

Up until the interval, the film is replete with humorous asides such as when the students are leaving a movie theater and they explain to Sue, “That’s why India grows trees so we can dance around them.”

While roaming the countryside, Sonia’s boyfriend, Ajay, an Air Force pilot, asks her to marry him.



(Image source: http://www.hindu.com/2006/01/29/images/2006012904760201.jpg)

After the interval, the students watch the documentary they made. They are sobered by it. But quickly fall back to their previous perspective, “There’s nothing worth giving your life for. When we leave college, we will have to fight just for the basics. Corruption is in our DNA.” They believe it does not matter what you do, nothing will change.

Then, they see the news their friend Ajay (Madhavan), the Air Force pilot, has died in a plane crash. At first, there is speculation that the plane malfunctioned due to the purchase of cheap defective replacement parts. But, as public demands for an inquiry increase, government officials begin to denigrate the dead pilot’s reputation to place the blame on him.

His friends and family retaliate by holding a candlelight vigil to protest the defamation of his reputation and to support the investigation of corruption. The parts dealer, Karan’s father, reassures the Minster of Defence, “Public memory is short.”

When the vigil continues to bring pressure on the government, riot troops are called in and the crowd is beaten into submission. Ajay’s mother (Waheena Rehman) is beaten into a coma. This is how the Indian government answers its public.

When Laxman, is beaten up by his own family with his father’s consent for his acceptance of others, I knew how he felt.

The tenor of the film changed. The group of friends becomes comrade-in-arms as they plan their revenge against a corrupt and unresponsive government. One student notes, “The Defence Minster is suppose to safeguard the nation not sell it.”

Pleasures: I appreciated the modern look of the sets and cinematography. In addition, this is a great ensemble film shorn of excessive sentimentaility. Plus, I am a sucker for handsome men like Madhavan. His part may have been brief but he graced the screen with charm and electric good looks.

Regrets: I missed the full-blown song-and-dance routines but I understood what the director was trying to do with the music. My disappointment is that the solution the film offers seems as empty as the corruption it was meant to rectify.

Commentary

While I understand this film is a call to idealism, I could not see how the ending would achieve that result. This film has many scenes of violence. While they may have been “tastefully done” there were still too many for me. I have strong feelings about the use of violence. I want to believe people can find more diplomatic ways to resolve their differences.

What did the director hope the response would be to his film? Does he think young people will take to the streets and begin killing anyone they decide is corrupt?