Road, Movie: A Wonderful Journey

The Road, Movie is about a journey that the main lead, Vishnu, played by Abhay Deol, undertakes through the course of the movie. The journey is literal and metaphorical, internal as well as external. His father runs a hair oil business and expects him to join the business. At one point, early in the movie, he asks his son to smell the oil as it was his future. But Vishnu just does not seem interested in the oil business.

He takes up an opportunity to drive an old truck to a museum across the desert as a way of running away from the ordinariness of his life. Along the way he meets various characters and some of them become his co-passengers on the truck. He meets a smart, young boy working at a roadside dhaba, desperate to leave, to find a new life in a new place; an old mechanic who wants to go to a mela and the gypsy woman in search of water, whom he starts to love. Some of the best parts of the movie happen when the four are together.

Along the way, Vishnu discovers that the truck has an old cinema projection system and a collection of films. The movie gives a glimpse into how large parts of rural India, bereft of cinema halls, watch films. The movie, in parts, is a tribute to the power of cinema; the power to captivate, to enthrall, to entertain, to transport the audience to a completely different world. And in doing so, the Road, Movie showcases the power of cinema to transform.

In parts, the movie is also an ode to the spirit of adventure. As the Nobel Laureate Anatole France once said, “Wandering re-establishes the original harmony which once existed between man and the universe.” The journey teaches Vishnu life lessons that he would not have learnt otherwise.

In the desert, he meets a corrupt cop who forces him to show a movie to the whole village in exchange for sparing them the torture in his cell. He also meets a gang of water dacoits. The spoof on the larger than life villain is spot on and does bring a chuckle. Especially the barter of the hair oil, which will make the dacoits mard, for water is hilarious. The humour in the film is generally understated, in tune with the film’s tone.

The movie features some very good acting. Abhay Deol again shows that he is capable of giving a nuanced and natural performance. Satish Kaushik proves that he has far more talent than the film industry has ever used. Tannishtha Chatterjee, playing a striking gypsy girl, effectively potrays the strength and vulnerability of her character. The scene where she spontaneously starts to sing is beautifully done. Mohammed Faizal as the boy working in the Dhaba is a revelation.

Technically, the film is first rate and matches up to international standards. The cinematography by Michel Amathieu is excellent and the sights and sounds of the dessert are captured beautifully. The backround score for the movie by Michael Brook is modern yet rooted. It is one of those films that take their own sweet time and the director is in no mad rush to get to a twist ending. This is Dev Benegal’s first movie in over a decade and it is worth the wait.

The Road, Movie is a fable about survival, hope, love and dreams. It is subtle and dares to travel on the less-traveled road where most Hindi films do not dare to tread. It does not force feed its audience but respects their maturity. It does not make decisions for the audience but lets them do their thinking and come up with their own answers. Was the Mela for real? Did Vishnu really make love to the gypsy girl? These are questions that the film leaves for the audience to decipher. And that is so very refreshing in an age of dumbed down entertainment ruling the roost.

Rating (3.0/4.0)

Karthik Calling Karthik: A Missed Call

At the outset, I want to say that “Karthik Calling Karthik” has an interesting premise. All of us have to make difficult choices in life. There is always the risk that our judgment will not stand the test of time. Thus, in some way or another, we all yearn for a one-rule-fits-all sort of a solution. But then, real life is a little too complicated for it. In this backdrop, the film is an ambitious project. It is not a regular bollywood movie and the makers need to be given a pat on the back for trying to do something different. But the execution and especially the ending leaves a lot to be desired. Don’t get me wrong; it is not a bad movie. But it is not a movie that stays with you.

For starters, Farhan Akhtar, playing Karthik, does give a competent, heartfelt performance. I really liked his work as the unsure, mumbling Karthik. I do not understand why a filmmaker has to go in for change of look for the actor to transition from being a loser to being a super cool dude. Is there a thing called as a loser wardrobe? And what is this thing about getting rid of the glasses for the lenses? Anyways, that is a discussion for another day. Shonali, Karthik’s object of affection in the movie, is played by Deepika Padukone. She still does not understand that acting as a career certainly requires more than looking good. Though, I must say she is better than her earlier films but barely just.

Whereas the story had the potential to become a pretty good film, what it ends up being is an also ran. The director is successful in building a set-up for a good psycho thriller but is unable to carry through with it. As you go into the intermission, you are excited about what the second half holds. But alas after an exciting bit of foreplay, the climax is a dud. The treatment of schizophrenia is too simplistic and falls flat on its face. The ending is too contrived for its own good. Most of the characters apart from the leads are poorly written and basically caricatures.

The music is fairly decent and most of the tracks are regular Shankar Ehsaan Loy (SEL)-Javed Akhtar collaborations. Some of the songs in the second half clearly slow down the narrative and could have been avoided. The background track “Karthik 2.0” by Midival Punditz – Karsh Kale is really good and very unusual for a Hindi film. The cinematography is good and does serve the movie well. The romance between Deepika and Farhan is actually interesting but the main plot does not hold up for the movie to really build up on it.

In the end, I just want to say that “Karthik Calling Karthik” is a missed opportunity or in keeping with the telecom bit, a missed call.

Rating (2.0/4.0).

Chak De India

In one line, Chak De India is a conventional but compelling team sports movie that has all the elements of the genre- a fallen sports hero looking to regain lost glory, underdogs looking to upset the champions, a fractious team struggling to find team spirit, team players described by stereotypical labels, the final scene in which the underdogs achieve the impossible, dollops of patriotism and so on. The predictability of the film is a minus but the execution saves the day. And how. You actually enjoy the ride while it lasts. So, the director Shimit Amin deserves some applause for pulling it off under the Yashraj banner (you can sense somebody from the production house actually doctoring the script at certain places, asking for ‘masala’).

The first half starts by tracing the fall of Kabir Khan played by Shahrukh Khan. The makers harped on the aspect that the movie was based on Mir Ranjan Negi’s life. But then they had to play the religious card in the movie and make the ‘perceived as traitor and finally recognized as hero’ character a Muslim. Then there are jingoistic dialogues that are as stale as they come along with typically jarring background score. The scene where Kabir Khan is leaving his ancestral home is one of the few badly executed scenes in the movie and is the epitome of melodrama. So much for love of melodrama masquerading as inspired creativity. Further in the first half, the team members are introduced to the audience as a bunch of stereotypical labels but in a fashion that manages to expose the regional clichés that run deep in society.

The second half is where the film actually gathers momentum. The hockey scenes are very convincingly shot and look real (though there is a huge technical flaw. How can a team which is shown to practice on grass suddenly go and start playing their best hockey on Astroturf? But then, this is a Yashraj film).

The assorted cast playing the team has done a pretty decent job and like their on-field performance, their on-screen performance also improves as the film goes along. The rivalry within the team is played out pretty nicely and manages to keep the audience interest. Preeti and Komal, always warring with each other; Bindia, scheming to the core; Balbir, always blowing off her fuse; and Vidya as the not so confident but hardworking captain, are some of characters the audience will take away from the film. But the biggest performance comes from Shahrukh Khan. In a Yashraj film he manages not to overact at more than two-three places. That is amazing. This is his best performance since ‘Swades’ and even otherwise one of his better ones. But in my view a lot of credit for this must go to the director. He has managed to extract a good performance.

But the biggest virtues of the film lie in its ability to be a commentary on the lack of a sporting culture in our country, on the state of hockey and most importantly on the sexism prevalent in India. It deserves praise for this and the writer, Jaideep Sahni scores full marks on this count. Chak De India extols India to chuck sexism and I say- Chuck De India.

Rating (3.0 on 4)

Eklavya

Vidhu Vinod Chopra's 'Eklavya' is the kind of film that makes you think. Not only about the film and the issues it raises but also about the filmmaker's immense abilities. What is he going to come up with, the next time around? I am already waiting for '64 Squares' (hope the wait is not as long as the one for 'Eklavya').

The film boldly defies convention in not adhering to bollywood’s song and dance routine (okay, it has a song, but only one and it is very well shot). The film starts of with Big B's baritone invoking the legend of Eklavya. Off screen, a child to whom the narrator is recounting the legend keeps repeating that Eklavya was wrong. This brings to fore the crux of the film- ‘Dharma’ (not in the sense of religion but in the sense of morally right conduct). It questions the belief that ‘Dharma’ is fulfilled by observance of custom or law. Instead it upholds the belief that ‘Mati’ or ‘Vivek’ is the fountainhead of ‘Dharma’ and that customs and traditions are only guiding principles and they need to be questioned and modified in view of the changing situations. That it is as subjective as anything else.

To quote Sahir Ludhianvi -

“Ye pap hai kya, ye punya hai kya, reeton par Dharma ki muharein hain

Har yug mein badalte dharmon ko kaise adarsh banaoge”

The story of palace secrets and royal intrigue has no direct relation to any Shakespeare creation (if you leave out the references to the Bard’s 18^th sonnet) but it is Shakespearian to the core. (Not surprising since Shakespeare is a major passion of one of the writers, Prof. Abhijat Joshi). Ekyavya has a dark sombre feel to it and the intensity forces you to be glued to the screen.

You can feel the filmmaker’s passion for perfection while watching the film. Technically the film is a triumph for Vidhu Vinod Chopra. Quite simply, it is international quality cinema. The frames are picture perfect and the cinematography by Nataraja Subramanian is top class. Pradeep Sarkar as the visual director gives that extra punch to the film. Shantanu Moitra comes up with an inspired score. The screenplay by Vidhu Vinod Chopra and Abhijat Joshi is multi layered and allegorical. The taut editing by Raviranjan Maitra never lets the film slacken. The production design by Nitin Desai and the costume design by Subarna Ray Chaudhuri and Raghavendra Rathore are spot on.

The performances by the cast are generally first rate. Boman Irani (as Rana Jaywardhan) gives a nuanced performance and potrays the insecurity of his character in a seasoned manner. Jackie Shroff as the scheming Rana Jyotiwardhan is good (it is a pity he does not have much to do in the film). Jimmy Shergill as Udaywardhan gives a decent performance in a negative role. Sanjay Dutt gives a crowd pleasing performance as the DSP. Sharmila Tagore (as Rani Suhasinidevi), Parikshat Sahni (as Omkar Singh) and Vidya Balan (as Rajjo) do justice to their roles. Raima Sen displays her acting prowess in the role of Nandini, the mentally fragile daughter of the king. But the two powerhouse performances are delivered by Amitabh Bacchan and Saif Ali Khan. Amitabh’s act as the conflicted royal guard is definitely one of his best (I know that is a big statement to make, but I will stick my neck out on this one).He has used his eyes in a manner that only a actor of his calibre can. And what has happened to Saif ? Boy, he is just marvelous in a role that required him to be restrained yet forceful. After last year’s ‘langda tyagi’, Saif is again firing on all cylinders.

The film contains quite a few references. ‘Mahabharat’ and Shakespeare are the most obvious, but there are many others. The desert, camels, train, and murder sequence is riveting. Oh, what the heck it even invokes the westerns of yore. Brilliant. The director’s penchant for pigeons in important sequences of his films is again displayed. He references his own film ‘Parinda’ in one of the finest scenes of the film. The blackout in the theatre sequence is a tribute to Stanley Kubrick’s blackout trick in ‘2001: A Space Odyssey’. Brilliant again.

In the end all I can say is, ‘Eklavya’ is an epic saga of duty, honour, loyalty, jealousy, revenge and deceit; one that will be with you long after the lights come on.

Rating (3.5 on 4)

Taare Zameen Par

‘Taare Zameen Par’, Aamir Khan’s first shot at direction, is stamped all over by that familiar trait of his- quest for perfection. Does he reach that destination? Not really, but let us not be too harsh as this is not a film by a seasoned director, but a first timer. Ladies and gentlemen, this is an honest, courageous and heartwarming film.

The film is about a dyslexic child (Ishaan), his problems, and the insensitive world that we all live in. It takes a look at Ishaan’s journey from a naughty, dreamy child to a silent, heartbroken, crestfallen child and then how with the help of his new art teacher he finds his way back. The film’s biggest plus is that it manages to tap into the thought process of a child. The pain of being labeled a loser; a failure by the society at large and the rejection by the parents is explored in considerable depth and with remarkable sensitivity.

TZP makes you cry (a lot), gives a message and does raise awareness about dyslexia. But don’t mistake it to be a social message spewing tearjerker of a film. Basically it is about the triumph of the human spirit. It talks about the topper syndrome that only focuses on marks, not on education. It talks about the need to nurture every child in a unique way. It talks about the futility of the rat race, in which even the race winning rat is nothing but a rat. It talks about the unwillingness of our society to let children be children. And it does all of that while providing entertainment. Phew!

The performances in the film are excellent across the board. Tisca Chopra as Ishaan’s mother, and Tanay Chheda as Ishaan’s friend deserve appreciation. Aamir Khan as the new art teacher, puts up an expectedly fine act. His character bears some resemblance to Robin William’s new English teacher in Dead Poet’s Society- the teacher that gives wings to the students’ thoughts. But the film belongs to Darsheel Safary, who plays Ishaan. His is an author backed role and he delivers an outstanding performance carrying the film on his shoulders. The portrayal of pain, rejection, disappointment, and utter helplessness is masterly.

The story by Amole Gupte is heartfelt and Aamir’s direction enhances it. Some of the sequences like the mother discovering the flipbook that conveys her son’s feelings, Ishaan making the boat that floats, Ishaan’s dad visiting Aamir in school to tell him that he ‘cared’ for his child, Aamir feeding a poor boy working at a dhaba, Ishaan crying and asking his dad not to leave, Ishaan running around the boundaries of the playground, Aamir and Ishaan looking at each other’s paintings- have a lasting impact. Shankar, Ehsaan and Loy provide ample proof that they can excel in all types of films. The lyrics by Prasoon Joshi are poetic, dreamy, and they will give you goose pimples. The cinematography is nice, with colours used appropriately. Animation is used judiciously and the animated sequences serve the purpose.

But the film falters in some aspects. Most of the teachers are portrayed as mere caricatures and their characterization is a trifle hackneyed. The film repeatedly shows the viewers the difficulties and humiliation faced by Ishaan but the solution is not given enough time to sink in. It happens just like that. Even the final sequence, though handled immaculately, is extremely predictable.

I will like to end by saying that I wish Bollywood makes more such movies (please don’t give us five new films about a dyslexic child; I was just referring to the quality). Just an idea- can Darsheel Safary be the acting coach for some of our so called stars? It may just lift the acting standards in Bollywood. Or am I wishing the impossible?

Rating (3.25 on 4)

Honeymoon Travels Pvt. Ltd.

Reema Kagti's directorial debut "Honeymoon Travels Pvt. Ltd." is a good example of a yawning gap between an idea and its implementation. On paper the film seems to be interesting, but the execution leaves a lot to be desired.Honeymoon... is a character driven film rather than a story driven one(not surprising as Kagti assisted on Dil Chahta Hai) and thus is more dependent upon characterizations and performances.

By and large, the characterizations are rather trite.Authenticity goes for a six.Every character is given some line or phrase to reiterate their ethnicity.But does that make sense? Not really. Amisha Patel never seems to be a Punjabi and is thoroughly irritating(believe me, it is not just her character but her acting as well).Karan Khanna as her husband is decent. Boman Irani's accent seems forced and he seems to be trying too hard (never such a great thing for a man but that is beside the point). Shabana Azmi is convincing but we could have been spared her lecture about 'pyaar' at the end. Abhay Deol and Minnisha Lamba come across as lassi gulping Punjabis rather than Parsis. Sandhya Mridul plays to her type and repeats her stock expressions. Vikram Chatwal is okay.

Dia Mirza is absolutely unconvincing as a Gujarati. Ranvir Shorey could well have been a trump card for the director but he is wasted.It seems Arjun Rampal was forced to do a cameo what with that uninterested look on his face. Kay Kay Menon is certainly not as his best but is still okay. Raima Sen as his wife with ambitions and dreams of her own gets the best written role and she delivers a good performance.

Mostly the film is devoid of any logic and the some of the scenes seem too far fetched.But the superhuman bit takes the cake. Then the scene where Kay Kay Menon's character takes a significant decision under the influence of intoxicants is again very illogical. The romance between the bus driver's nephew and a german is unfathomable.Also, can the director decide whether the driver is from UP, Bihar or Haryana - he seems to speak a mixed dialect.On second thoughts, he may have had a mixed parentage.

The music is nothing to write home about though two of the songs-'Sajnaji Vari Vari'and 'Pyaar Ki Yeh Kahani'- are decent and very well choreographed. Anurag Kashyap's dialogues are very uneven. Reema Kagti takes the writing credit and while watching the film I could not help the thought that though her direction is generally lacklustre, she did a decent job in coming up with an interesting story idea(though a post on imdb tells me it is copied from a Bengali Natok 'Shomudro Bilash Pvt. Ltd.'...you can always trust bollywood for originality!).

The only thing that remains with you after the film is over are three scenes.The best is the one with Shabana Azmi crying under a shower.She again proves that she is a fantastic actor. Boman Irani and Shabana Azmi are nice in the scene when they discover that Boman's ancestral home has given way to a concrete jungle. Karan Khanna's lament that 'life will never be the same again' is realistic. Hopefully next time, Reema Kagti can string together more of such scenes.

In the end, don't ride the bus...it goes nowhere.

Rating (1.5 on 4)