Thursday, April 30, 2020

The Lunchbox (Dir. Ritesh Batra, 2003)

(Reviewed 4/5 on letterboxd.com April 2020)
Watched this in memory of Irfan Khan; the specialty of Irfan the actor clearly was in his ability to shun melodrama and rely mostly on his ability to react which made his skill sets suitable for film. His ability to emote can be clearly contrasted with his co-actor Nawazuddin who I would argue is a more versatile actor. Irfan was a director’s actor, like an Indian Chishu Ryu, who understood his limitations which is rare to find in mainstream Indian cinema. His role in this film is probably the highlight of his career although the film itself could have benefited from avoiding the semblance of a happy ending.
To the films credit, it’s delightful use of montage, the sparseness of dialogue; excellent use of space - which is a commodity whether at homes, streets or public transport; the abundance of people but lack of true friends; the constant money woes and finally the insightful letter writing give a fairly accurate and bitter sweet portrait of life in Mumbai city.

Le Bonheur (Dir. Agnes Varda, 1965)


(Reviewed 4/5 on letterboxd.com April 2020)

Varda’s reinterpretation of F.W Murnau’s silent Sunrise (1927) and the biblical Adam/Eve story in the context of the 1960's sexual revolution.
This film rejects the black and white dichotomy of the characters of the older film and instead portrays the skewed sexual dynamics in the sometimes beautiful and other times sickening color palette where even in the modern age, the women will come and go like the change of seasons; the men will remain, basking in their delusions of love and double standards of fidelity against the sometimes uplifting and other times foreboding strains of Mozart. The devil, if any, is in the man.

Friday, November 16, 2018

Ghanchakkar (Dir. Raj Kumar Gupta, 2013)

(Rated 4.5/5 on letterboxd in Nov 2018)

Emraan Hashmi's seriously amnesiac thief and the helplessness of people around him create some great absurdist comedy and a surprisingly taut suspense thriller. Amit Trivedi's pulsating background music make this even more delectable.
Oh and who acted in Ghajni, again? That one moment of collective amnesia is just priceless. 

Sunday, February 11, 2018

Ae Dil Hai Mushkil (Dir. Karan Johar, 2016)

(Reviewed 3.5/5 on letterboxd.com in Feb 2018)


No Mr. Johar, not every Bollywood fan aspires to live out scenes and songs from Chopra and Johar films. Despite the self congratulatory tone of the film, it exceeds expectations mainly through the performances of Kapoor and Sharma. Also towards the end when I was almost certain Johar was getting into Kal Ho Na Ho territory , he surprised me once again with that ending. An extra half star just for that Channa Mereya song sequence at the wedding; no Kapoor has channeled his inner Chaplin better than in that scene.

Tuesday, February 6, 2018

Rajnigandha (Dir. Basu Chatterjee, 1974)

(Reviewed 4/5 on letterboxd.com in Feb 2018)


A film about the desires and fantasies of a young bourgeois woman, trying to decide between the two loves of her life. Quite ahead of its time, even though it tries its best not to appear completely blasphemous to the contemporary Indian society of the 70's. I think Vidya Sinha's conservative and dreamy (bordering on dumb) character definitely helps in that regard.

Saturday, January 20, 2018

Dawn Patrol (Dir. Howard Hawks, 1930)


(Reviewed 4.5/5 on letterboxd.com in Jan 2018)

Richard Barthelmess carrying a full grown man on his shoulder and then almost carrying off a mission single handedly as a squadron commander. I can believe almost anything this guy ever did onscreen.

Sunday, October 22, 2017

The Hypothesis of an Artwork

My young friend Radhika surprised me with her artwork today. I tried paraphrasing our conversation below:

"Did you draw this for me?", I asked.

"Yes" - she said.

"Who is this?", I asked, pointing towards the largest human figure.

"That's you", she said.

"What about this girl?", I asked, pointing towards the small human figure in the sketch.

"That's me", she said.

"Is that a butterfly?", I asked pointing towards the insect like figure on the left.

"NO!, that's a dragonfly; THIS is the butterfly", she said pointing towards the other insect like figure.

"The dragonfly goes over your head, under the butterfly and the butterfly flies over and sits on the floor", she said, describing the motion in the dotted lines near the insects.

"Wow, that's amazing! Why do I look like a scarecrow?", I asked; she dismissed my stupid question.

"Look at the back", she said pointing towards the big alarm clock.

"Is this your clock? What time do you wake up?; It looks like 4pm", I said reading out loud.

"Why is it that your 3, 2 and 9 are mirror images of the numbers", I asked another stupid question.

"That's how I write them", she said dismissing my question.

"But that's not correct, you know that right?", stupid question number infinite at this point.

"Yes, but that's how I want them", she said with her beautiful smile.

"Is this for me? Can I keep this?", I asked her.

"Yes, its' for you", she said.

After this we went downstairs to play some jigsaw puzzle. I ate a delicious meal at her place and like an idiot forgot to take the artwork with me. I asked her mom to send me a photo of those drawings. Now, I can't stop looking at them.

They say Picasso drew like a child even after growing up. His figures had no sense of proportion; it was purely his feelings that came out in his countless sketches and paintings; people say they did not understand it, it was modern art when frankly it was real art unaffected by the dogma of form and art school.




Radhika's gift for me had figures with no conventional sense of proportion except as her minds eye perceived them. The male figure i.e me is the largest figure on her canvas and the centerpiece of the artwork. She wants me to feel important and after all it's a gift! She stands next to me in what I would interpret as a happy position and at the same time taking authorship for the work. The insects add a dynamic to this artwork; there is a sense of motion in this still life which adds an excitement to it. The dragonfly flies over my head, the butterfly flies over the dragonfly and sits on the grass. The tree is small, giving the drawing a sense of depth in field or maybe it's a plant with its leaves stretched out just like the humans have their hands; nature is clearly in unison with humans here. Radhika's world appears large and she has a place for me there! The sun is shown partially, the whole drawing is as if seen through a lens; there are things within the frame and then there are things outside it! Again, a sign of endless possibilities.




The alarm clock has some inverted numbers and that's how Radhika believes they should be in this drawing! She realizes that they don't meet the convention but who cares about conventions in an artwork? The time in the clock is open to interpretation; it could be 4am or 4pm. There are diagonal red lines outside the clock indicating the sound of the alarm!; her mom told me that they brought an alarm clock for her recently and she is fascinated by it. I am glad that she has gifted me her image of the alarm clock by drawing it on the other side of the scene of bliss. I could even take it as the transience of everything in life. Time is after all the fourth dimension that defines our existence.
I won't read into it that much though. I am just glad that my young friend gifted me this! I decided to return the favor by giving it a place on my blog.