MANAM (2014) - TELUGU

I liked this film and it was wonderful to see a legend, ANR for the last time on silver screen.

The screenplay, though inspired is well written to adapt to the nativity of Telugu audiences. Thankfully, I did not take my brain inside the movie theater, so I just went with the flow and reacted for whatever was happening, without thinking anything. So I could appreciate some genuine feelings which made me feel for the characters.

Produced by Akkineni Family, this films uses many things about them, from their names to fitting whole of the family in a frame. Nagarjuna as a surprise acted well and was the best among the lot. He showcased his skills very effortlessly and he just went along with the flow. I cannot remember even one dialogue which I thought was out of place or uncalled for. Dialogues between ANR and Naga Chaitanya were a bit overboard I felt.

The film is not devoid of flaws, it has some huge and big holes. But, all those can be forgiven if the sheer effort of writing down this piece and putting all the pieces together are considered. Nagarjuna again proved to be a good producer who wishes to take challenges and it was heartening to see this script having such a huge cast. It's an experiment in Telugu Film Industry and I am happy it has paid off. 

It involves multiple flashbacks and the same people wearing different characters. It would have been really tough had this been complicated. This was a very simplified and spoon-fed screenplay and that's the reason I believe it worked. 

Of all the stories that were put in, I liked the story of Seeta (Nagarjuna) and Rama (Shriya) in the village. That was a real treat in the film. A 3/5 for a film that I liked and I hope to see such endeavors being enocuraged in Telugu Film Industry.

Just a spoiler, please watch the film "Back To The Future" which I believe is a huge inspiration for this film.

BASIC INSTINCT (1992) - ENGLISH

A taut, erotic thriller and indeed one of the finest murder mysteries ever made.

Sharon Stone steals the show by seduction and eroticism. The film is known for the erotic scenes above everything else. It has the most paused moment in cinematic history, which is the the leg crossing scene of Sharon Stone.

There is lot of eroticism which I suppose was needed for the plot, as the protagonist Catherine Tramell seduces men into her plot and uses them as tools for her own written plot. So no qualms, with the nakedness of characters in this. It never seemed that it was over the top or it could have been avoided. This marks the ingenuity of the writer. It is called smart writing by embedding some real erotic scenes to make it more interesting.

Murder mysteries if written well are generally interesting, but this was had the oomph factor with Sharon Stone as protagonist. She did go the full throttle and dug deep into the character. She made the enigmatic writer into a well balanced and a reasonable character. That enigma which she carried on screen transpires even in the viewers mind. At least it did drive my mind, so I rate her acting in this very film highly. Never before and never after did I see such a composed performance from Sharon Stone and probably I never will again. But what she did in this film alone is enough for her lifetime. She made Catherine Tramell one of the most memorable characters in Cinema History. 

I am surprised that Sharon Stone overshadowed a star like Michael Douglas in the film. If written well and acted with complete submission, the roles becomes supreme and raises above the script. Taking the script itself to greater heights.

The credit for this film must go to the writer Joe Eszterhas and the director Paul Verhoeven. every dialogue is terrific and the choice of words is meticulous and apt. 

Technically, I loved the editing and it's cut at the right moments with right space between each scenes. The transpiration of emotions is well conveyed and the acting indeed by all is great. Just that Sharon is above others in this means she is just greater by an inch above others. The production values are good and it makes a film stand long and I suppose, even 20 years later, people will watch it with same reverence as they did 20 years earlier (from now, 2014) when it was initially released.

A 4/5 for this, undoubtedly for the lines and Sharon Stone.

DAYS OF HEAVEN (1978) - ENGLISH

A terrific work of camera that takes an ordinary story to extra-ordinary level of story telling.

This is a Terrence Malick film, that shows with the cinematography. The passion exudes in ever frame, in ever shot. In detailing of the backdrop, the period, the artifacts. Malick certainly can be called a visual poet. This is the second film I watched of his, the first one being "The Thin Red Line". Both have exemplary camera work and are exquisitely detailed in composition of each frame. You can pause at any moment in these two films and you can say, hey wow, what a painting that is.

Days of Heaven came early that is 1978. Yet, the work is contemporary and long standing. It has a story that is universal. It's about love, betrayal and murder. These things flow like poetry and all is said from the eyes of a child. The voice over adds a perspective that makes the film interesting. 

Apart from technical brilliance, the film has to be known as one of the earliest Richard Gere films. He showed in this film, what he was made of. He is a tough and long running horse and he proved it with time. Also, Linda Manz as Linda did a terrific job as a child.

Most of the praise most surely go to the men who used camera very nicely. Nestor Almendros and Haskell Wexler did a stupendous job in creating paintings through camera. Thanks to them and a big thanks to Malick in knowing the perfect use of camera. 

The editing and sound, considering the period this film was set in, were pitch perfect. The editing gave fluidity to the story and the sound which I suppose was remastered by Criterion was great. From the starting scenes of huge burning down, to the horses in chase, to a gun shot. They were crystal clear and gave a thorough surround stereo feel.

I loved the camerawork above all else. It shows the diligence and prudence of Malick and salutations to him. A 4/5 for this visual poetry.

DIAL M FOR MURDER (1954) - ENGLISH

A terrific film by a terrific director. 

Setup mostly in a single apartment with lot many details of apartment and characters explored in very little time, this is a very good detailed film about murder. There is a lot of conversation, for the most part of it. Most of it is planning the murder, and the rest of conversation is about covering up by culprit, then the culprit being brought to justice. 

The best part is in the first 10-15 minutes itself we know of what would come. Who has planned whose murder that is setup very clearly. Now the rest of it is for the police to bring the murderer or the planned murderer to justice. To categorise this as a mere thriller might not be apt for this. This has a lot of drama, it's cold blooded drama and a meticulously planned murder. It's not mystery either coz there are many things that are clear. We know who plans it, what is his motive and how he wants it. What happens perhaps is different but, the person who has planned needs to be brought to justice. The only driving point from then is how is he brought to justice. 

Ray Milland does a terrific job, less of emotion and so much of cold-bloodedness in him. Damn, that is very tough to pull off and he does it with considerable ease. 

The master throws up a masterful film in this. Also, there is a significance in the title "Dial M" though shown very briefly, it has it's place. 

Without much to say about this film any further, I am going with 4/5 for a film by my favourite director. Hitchcock rocks again in this film.

BARTON FINK (1991) - ENGLISH

Perhaps, this is the only film that does complete justice to Coen Brothers as they are.

Symbolism is just supreme in this film. There can be many interpretations of a dialogue, a scene, a character and his actions. Barton Fink is a writer who abhors the Hollywood System and wants to create space in theatre for common man. When such a guy asks a girl "Are you into movies?" She replies "Are you silly?". Just for this dialogue I can derive many interpretations. Are movies Silly? Is it foolish of him to be thinking of movies? And likewise many more.

So a film, that's highly symbolic would be an understatement to this, there should be a better statement. Coz, this has a great treatment and wonderful acting in a story that's minimal in content and yet humongous in exploring the little content in the story.

John Turturro is a revelation in this film and John Goodman shows why is so good at. These are two underrated actors I believe in the last 20 years. John Goodman was superb in a few films, though he did actually act in very few than his contemporaries, his choice was good in terms of script. John Turturro is a terrific actor whose potential was unleashed in very few films, mostly by Coen Brothers though.

From the poster of this film, till the last scene, there is an intrigue that's typical only to a Coen Brothers film. if anyone is thinking, what is a mosquito doing in the poster? I recommend them to see this film to know it for yourself. 

I am happy to have seen this now fully in one ago, though earlier I tried to see it in parts, but could not finish. Indeed, it was a rewarding experience that threw many challenges in terms of narrative and treatment.

I love this film and will watch it again soon. A 4/5 for this film. Perhaps, the best of Coen Brothers till date.

NAKED LUNCH (1991) - ENGLISH

This is a film that jolted me in my sleep and made me awake, days after I saw this. Some scenes are terribly brilliant in this surreal drama.

Thanks to Criterion, because of which I got to know of this film, and picked it up from their collection. David Cronenberg is one of the outrageous directors existing today. He does not seem to compromise with his vision and tries to be so true to the material that it frightens the viewers very much. I wonder if I can ever see this on a big screen, in theater somewhere. Will they dare to put it up, will there be audience in the first place? I really doubt. yet, this is one of the finest surreal dramas that was made in 1990's.

A week after I watched it, I just woke up as I got a scene from this film in a dream. Damn, even today (which is a month after I watched it) as I type the review, the hairs strands are standing on forearms. Creepy it is and totally insane too. I wonder how such a subject was chosen to be presented.

This is an adaptation of the novel by the same name, written by William S. Burroughs. I wonder whether those who have read it imaging the details presented in the book, also have been through nightmares as I did watching this film.

Nevertheless, this is a very important aspect of art and film making and indeed it is needed. I appreciate the courage of the director and more so the producers. Obviously, this is not a film for everyone, even for the generally weird people, but it's for those who have a liking for aesthetics of weird, nightmarish, disgusting things.

I cannot reveal characters or the plot points coz that would make any reader of this review miss the fun, given that he chooses to see the film. It's definitely worth a one time watch and that perhaps is enough for a lifetime as it would not be easy to erase from memory either. It has tremendous impact undoubtedly. 

A 4/5 for one of the terrific and even terrible surreal movies.

HAIRSHCHANDRACHI FACTORY (2009) - MARATHI

A well intended story mashed up with fabricated emotions.

Indeed, as film lovers we deserve to the story of the first film made in India "Satya Harishchandra" and also the story of the man behind making it "Dadasaheb Phalke". Yes, that is well presented and documented through this film. Yet, I believe many emotions were overblown or uncalled for in this film which is made into a melodrama intentionally. Though funny in parts, and entertaining too, the pain which Dadasaheb went through to make the first indigenous film was trivialized and that's the only qualm I have with respect to this film. Otherwise, it was a job well done.

Directed by debutante, Paresh Mokashi he touches all the right chords in screenplay and script. Firstly, to make a film on this subject is in itself a brave attempt and I appreciate his courage. The writing was well intended and it tried to touch the nuances and the finer aspects of film making, be it correcting the film stock or manually editing the negative. Considering that this film was done a modest budget, I can appreciate the effort that was put in to bring the product the way it is.

Acting is indeed fine by Nandu Madhav who plays the role of Dadasaheb Phalke. Indeed his kids do a fine job and are fun to watch more than anyone else. All others have done a commendable job too. But had they controlled their emotions in the last half an hour and did not dramatize it, I believe this would have been a greater film. The director should take the responsibility of that.

The production values are OK considering the budget, but I wish such an important film that has history in it, could have been produced well and it deserved better sets and artifacts. The cinematography is just fine. There is no greatness and there is no flaw either. It does it's expected job and that's good. I was disappointed by the editing though, wish some moments were cut to mellow down the drama and stick to showing the real work done by Dadasaheb. Especially, in the last hour where he talks with Englishmen, about distribution of the film, there were some dialogues that were kept only to make Dadasaheb a great human being, which I thought were not so needed. He had done a great job by giving us the first film itself, now that needed to be reiterated is what I felt.

I am going with 3/5 for a film that's historically important. I wish it could have been much more in terms of production values and editing. 

THE THIN RED LINE (1998) - ENGLISH

Perhaps, the greatest war movie, in terms of scale.

I only wish it had a protagonist who takes the story forward. Yes, we have an army of soldiers and there is a battalion. But a guiding force would have done so much more is what I firmly believe. As it is, the film is no less than a great war film.

There is a supreme ensemble cast which includes Sean Penn, Adrien Brody, George Clooney and a host of many other actors. They do a great job in empathizing with the characters and playing their roles perfectly. They become soldiers and behave like soldiers. Not for once, did I see a Sean Penn but I saw a passionate soldier fighting for his country. All the others have done a fine job I must say. Though there some hundreds of actors in the whole film, never did I was there was an extra or someone is out of place. That is what I think is utilizing resources appropriately.

The cinematography by John Toll is exemplary and indeed I can say this is one of the finest works I have seen in a war film. I learnt that this film even with such great camera work did not win an academy award for cinematography but it was awarded to "Saving Private Ryan", which also has fine camera work and great choreography of war scenes. I can understand the fix, the jury would have been in deciding which one was better.

I resisted myself from watching this, because I never thought I had the patience of sitting through a 3 hour full length war film, which is highly detailed and nuanced. Yet, after watching it today, I confess I have seen one of the finest war films of contemporary cinema and I salute the director Terrence Malick for showing the war as it is, unabashedly, uncompromisingly and more importantly, bringing the human emotions on to the surface without any drama.

The director Terrence Malick has done very few films in his career. He began in 1969 and yet this was just his fourth film as a director. He surely has a vision that is grand and it takes time to detail all of those. But, I hope he does more work and showcases his talent giving such exemplary cinema.

A 4/5 for this one and I ma happy to have finally watch it. To watch it again, I need a lot patience though.

LUST FOR LIFE (1956) - ENGLISH

Kirk Douglas becomes Vincent Gogh and is terrific in this film. Just watch it for the portrayal.

Vincent Gogh lived a very complicated film, as shown in the film perhaps. But to adapt to the complications and portray them without any compromise would have been the most challenging part. Kirk Douglas, the fine actor he is has done this effortlessly. Kudos to the great man for his acting itself.

Expectedly, the art direction is wonderful, as this is a film about painter, his paintings in itself would make the shots beautiful. The cinematography was adequate if not great. The lines were good and the editing was fine. But mind you, this is a biopic so it would take some liberties in terms of length in showing few important aspects of the life of Vincent Gogh.

Vincent Minnelli was one of the most celebrated directors of his time and he did this film with a great grand vision as his earlier films. But, he somewhere lost his vision in the making. He made a cliched biopic that is definitely good but must not great. I suppose that the script did little justice to the emotions which Kirk Douglas portrayed and also what Vincent Gogh could have gone through emotionally. 

This is good for a one time watch just for acting. A 3/5 for a good film and of these, 2 stars only to Kirk Douglas and the remaining star for the film overall. It's a good film but tests our patience at times. 

PSYCHO (1960) - ENGLISH

Probably, the most terrific thriller made. A film that terrifies even 50 years after it's made.

To pigeonhole this as a thriller would be wrong as per me. It has a murder mystery, a psychological thriller, a huge amount of drama, and even a family backdrop. With all such elements, it would be wrong if I were to categorize this as merely a thriller. Yes, it is filled with thrills and for the 110 minutes of running time, there is hardly any dull moment.

I have seen this movie, a number of times before and each time it had a terrific impact. Also, I have always found something new, maybe a new frame, new shot or a new background sound. The discovery does not seem to stop. This I attribute to the many elements that are involved in this film.

From placing the camera, composing the shot, revealing the right emotion and making the audiences wait till the shocking aspect is revealed, Hitchcock is at his best in this film. This is indeed one of the more simpler stories he dealt. Yet, he made it so impactful that it continues to surprise audiences even today. Thanks to the music by Bernard Hermann, whose contribution to the film is very important. I cannot imagine this film without the music and I believe that it's because of the music, that the resonance was acquired.

If it's the shower scene that is most talked about in this film, I believe there are more scenes that are underrated yet very impactful. Now, I do not want to reveal those and give away some details. I can simply say, I was terrified by the climax shot where the mother is shown, more than anything else. 

The cast is perfect equally, Anthony Perkins does a wonderful job as Norman Bates. He is cold-blooded and yet looks so deceptively humane as an extremely caring human. This film and "The Trial" are perhaps the most important films in his career. 

It is the first psychological thriller of it's kind as I read on various other sites and perhaps it is also the most violent films made. Though the violence comes for less than 10 minutes, it haunts so brutally, as if it was there all through the film. 

It's a definite 5/5 for one of the finest films of all time by one of the greatest directors. 

RASHOMON (1950) - JAPANESE

Greatness comes through the narrative by adding a great perspective. Proved by Kurosawa

To date, I resisted touching Kurosawa for me though, I was meek to comprehend his greatness and perhaps even understand it. After watching Rashomon, I must say I am in a "complex" of a certain dilemma acquired by watching this film. 

A simple tale can be made complex by adding different versions of narratives to the same story, they are contradictory and inconclusive, yet they add the dimension of thought-provoking and making the viewer think actually what could have happened in the story. Perhaps, nothing of what was said and maybe all too, but the most important thing it ignites a debate within a mind. Thus, there lies the success of the film and hence it derives all the attention of the viewer. This is how the film becomes great.

Even so many years later, if this film has the charm to attract and enthrall audiences. I attribute that mostly to the narration by Kurosawa above everything else. Yes, the cinematography is brilliant, the editing is precise and makes the film breezy. The production values are good considering this is made in 1950's Japan. But above all, the treatment and the screenplay take the film to greater heights.

It's the story of a woman cheating her husband and making love with another man who is a bandit. But the husband, the woman, the bandit present three versions of the story and that makes it complex. Even the witnesses give different versions of happenings and it gets intriguing further.

Nature acts as a metaphor, the overcast skies, the rains, and the sunshine at the end add another aspect to the narrative, which I got to know by the end. Thankfully, I observed it to grasp it.

I will further examine, observe, and seek learnings from Akira Kurosawa's films. For this film, a 5/5. It's a masterpiece from one of the finest directors ever.

BEING SUPERHUMAN

All my friends have a girlfriend

How does it feel to me?

Does it seem good, or is it just the end?

If you ask me this

I feel like a God who has his end
As life is just a game and plays the way you want

Come on baby, just say along

That today this is my song

Of life with love, but without a girlfriend

I know that for many, I am just human

But for the unknown yet, perhaps I am superhuman

PACK OF CARDS

Hold a pack of cards and look at the jack
He is alright, but the mighty king
Oh, he is so bright
He, who has no mustache is the king of hearts
While other kings are fine but he is a bit smart
The queen's beauty entices me into romance
Perchance she comes and perhaps, we dance
The numbers do not mean much
But to fill the pack they are a must
While the ace tops them all 
And with his trump, he stops them all

RUN FOR TRAIN

When on run, to catch a train
It doesn't matter if it's sun, cold or rain
Head down and with swift feet, I just run
For, I may miss a day or a lifetime fun
All our life we sweat and save
And end up in a shallow grave
Throwing all we got and what others gave
So, meanwhile why to miss the fun?
Thinking this, I am on the run towards the train
Though in hurry and pain
I finally caught it and that was my biggest gain
Thus, ended the feat when I found my seat
And away went all the pain
Yet, there was fun in running for the train.

HAPPILY EVER AFTER

Call me when sweetness has dried
From the lips that have lost the word
And from the taste buds where taste has died
While mind has lost its world
As it could not squeeze love from it's loved one
And cannot get to me, leaving those whom you loved too
In such a fix, a God comes and weaves his magic trick
Asks to lose the mind and live with heart
So be it, if others have to part
But get the love, that would make life a tale
That ends with the line "Happily Ever After" 

MITHYA (2008) - HINDI

A roller coaster fun ride film that has many good moments.

I liked it primarily for the treatment. It's a story that has some clues from yesteryear's DON but was treated completely differently and more realistically. Kudos to the director Rajat Kapoor for having the courage to put this up.

Ranvir Shorey shows many facets of his acting capabilities here. He is simply brilliant and endearing. As the film moves, his character evolves and thus it grew on me. Of others, Naseeruddin Shah was at ease with his character. Saurabh Shukla plays his role effortlessly. A host of others gather to make this film a watch just for their acting. The best part of the film is the cast in itself. The cast that has tremendous acting abilities. 

The cinematography was good, if not great. What was shown was adequately done. The editing was superb. Considering this as 1 hour 50 minutes film, all the unnecessary things are chopped off. No uncalled for songs and no heroic fights. It's simply put and well compiled.

The writing is terrific. With showing small cultural differences to major mindset exchanges, the film deals with many aspects without any hype and hoopla. The simplicity comes to the foray as a saving grace and it indeed is the big positive of this film.

Thanks to writers Rajat Kapoor and Saurabh Shukla for having written it so exceptionally well. Also, thanks to producers for having the courage to bring it on screen. 

If not for anything, just watch it for Ranvir Shorey. A 4.5 for this brilliant film. 

POEM OF LOVE

The dog outside my home barks
The lizard crawls swiftly on walls
There is heat in the air and no sign of rain
The clouds vanish and the sky becomes blue
When I write a song of pain

But, when I write a poem of love
The crows fly to give way to doves
The dog is merry and the lizard doesn't move
The breeze becomes cold and clouds bring rain
Oh, what nature I see, that needs just some love
So, I wrote on love to be happy
Coz, I'd be happy when others are happy

END OF STRIFE

With a messed up mind and screwed up life

I attempt to find, the thing that ends my strife

The reason, why I should live

For what and whom I must be

Why take and what to give

Why these queries come, just to me

Found me in a whirlpool

Where in every swirl, there's self-empathy

Figuring out the end of this whirlpool

None and nothing shows any sympathy

But got to know a thing again and again

That most things done in life just go vain 

And the inevitable death relieves all pain

KISS ME DEADLY (1955) - ENGLISH

I must confess that, with this film I have seen a good noir film that is well nuanced and spine chilling.

From the titles in the beginning to the final frozen frame, there is a sense of mystique that prevails. It helped me hang for the whole length of the film and I felt grateful at the end. The film poster itself has too many details that need some good time to decipher.

To begin with, it's all in the writing of the script and placing them well in screenplay. Now, this film has done that part exceptionally well. Dialogues are good and they carry a certain intrigue that made me hold back to the whole length of the film.

It has many undertones and many references too. It's disapproving of many conventional film making norms that were there in 1950's. But in the same structure, the body and the heart of the this film are radically different and we have been offered a very niche film. It's classically noir and it's classically left for viewers interpretation.

The end climax is debatable and left me with questions. That's the kind of film that I like. The good films are good, but the great ones start asking questions about why anything happened. They start a debate internally within the mind and even with others, when you discuss about the film. Thus, this definitely is a great film.

With sharp editing and superb cinematography, this film is a landmark technically in 1950's. The production design is wonderful too. All kudos to the technical team who have got the infrastructure of this film together.

The acting, the nuances of emotions are done well by all the actors. Though, Ralph Meeker as Mike Hammer stole the show.

Great work by Robert Aldrich the director and great work by Criterion in giving us the film unedited, with even the alternative ending preserved. This is not a film for general viewers, it's strictly for aficionados.

A 5/5 for a definitive, science fiction, noir film. 

THE TRIAL (1962) - ENGLISH

The logic of this film is the logic of a dream.

It's surreal, complicated and does give very less breathing space to contemplate what has happened. Made by a film aficionado for film aficionados, this is a highly intellectual interpretation of what Franz Kafka wrote. There are reasons why only Orson Welles could attempt this, without any compromise. Also, only why he could understand it and interpret it the way he did. Orson Welles perhaps, has many similarities with Kafka. From being eccentric and extremely passionate about his art to having a similar surreal psyche that is left for the interpretation of the audience than being spoon-fed. 

From the cast to the settings, to the humongous number of extras used, this film has a grandeur which can also be stated as grandeur of delusions. A door opens another one and we do not know if all that was happening was real or a mere illusion. Such is the script that it never made me wake up from the times I watched it. I watched it thrice and will watch it many times more. There is so much happening and so much has been said that it took me time to even get a grasp of it. I must admit I read the book only after watching this film. 

I watched it thrice till date. The first time, it shook me. Second time, it gave me some insights. Third time, I was awestruck as I got to understand a few details deeply. Perhaps, this is still not right for me to review this film coz there are many more things that I ought to know in the process of understanding this film. 

Kafka is probably one of the most complicated writers of 19th century. While other writers used lot of verbiage to elucidate the details, Kafka used less words and said so much more. The translators of Kafka's works should be hugely applauded for they would have gone through a lot of pain in getting us the right meaning and in the appropriate context. 

Getting back to the film, this has great set pieces and Orson Welles proves yet again that why is grandeur a must to show a film in a certain way. It adds intrigue, mystique and a certain sense of being there. The scene where K escapes from the the painter and the way it has been shot, is just magnificent. Welles knows how to use camera, art design, and the setup the sets with the shots in mind meticulously.

Hey, is this a movie review? I really doubt coz after reading, I felt like I reviewed Kafka and Orson Welles more than the movie "The Trial" itself. Nevertheless, I can simply say it is one of the most profound surreal films that will be ever made.

A 5/5 for one of the finest films by a master director.