jump to navigation

Yuvvraaj November 25, 2008

Posted by Shujath in Hindi, Movies, Reviews.
Tags: , , , , , , , , , , , , , , , , , , , , , , , , , , , , , , , , , , , , , , , ,
1 comment so far

I wish I could exclaim – Subhash Ghai is back! It was my sincere belief that the showman would finally redeem himself with Yuvvraaj. Looks like redemption is another film away. Yuvvraaj is Ghai’s most disappointing film till date – if not his worst (that honor arguably goes to Kisna). A story about estranged brothers coming together would probably not be touched by any director in this day. But given Ghai’s expertise at handling these kind of themes in the past, I was expecting an old school classic from him and since it was also supposed to be an A.R. Rahman “musical”, my expectations soared.

Assuming that the rest of the film stays the same, it still would have made the cut if the director actually delivered a musical as he promised. The first frame of the film opens with Katrina playing the much publicized cello in a grandiose setting. A few other frames featuring people holding/playing musical instruments plus the usual songs are what constitute the “musical” part of this flick. A film like this filled with campy situations and (even more horrible) dialogue almost completely dispenses off with a background score and uses sombre looking sets (despite being opulent) – which undoubtedly gives the impression that this is supposed to be a film to be taken seriously. And this proves disastrous for it as there is no way any sane viewer could do that.

It is all the more surprising because Ghai is one filmmaker who knows (or rather invented in Hindi Cinema) how to incorporate a score to maximum effect. That skill of his was the primary reason his last success Taal survived. Another memorable disaster in this film is the dialogue. If you had seen the dialogue promos you should definitely have noticed Katrina’s “…..woh sirf ek hardcore anti-family man ho sakta hai”. There are equally bad gems like these (if not equally funny) but the pick of the lot is the scene where Salman gives an explanation for Anil’s altruistic actions to a policeman that it’s because he’s not just any other brother but an “Indian Brother”.

Except for Salman Khan and Anil Kapoor who provide the film’s only redeeming moments everyone else is a letdown – thanks to their lame characterizations. Zayed Khan especially needs an acting class. His character seems to have been written as an afterthought just to make it a 3-brother story. The straight from the eighties villains-vamps could have caused further embarrassment if not for their short insignificant parts. For all the talk about Katrina overshadowing everyone else on the posters, she hardly has anything to do. Many reviews have criticized Salman’s performance but I honestly feel that if it weren’t for the lighthearted feel he brings to the proceedings this film would have been unwatchable. Anil Kapoor should have had a longer part to play because it is only when he and Salman are together that the film stops from sinking further. I don’t know if his take on an autistic person is authentic or not but it is highly consistent and in tune with the plot. Mithun also appears in a brief role.

A.R Rahman would be the person to be disappointed the most out of this venture – it is the second time in a row that Ghai has squandered away his tunes. The very popular “Dost” and “Tu Muskura” absolutely make no impression in the movie. It is actually the less publicized “Mastam Mastam” which is the pick of the lot. For once the vibrant choreography does justice to the song. There’s also a short song called “Zindagi” which I liked very much. The climax song “Dil Ka Rishta” doesn’t create much of an impact but a couple of short pieces used from here in other scenes are really good.

Mithun ends the last scene of the film with the adage “Independent we live but United we stand” following which (to my utmost surprise) there was a standing ovation from the audience!!! whatever they were clapping for! As a last ditch attempt the Farah Khan style end credits are brought in but that can’t make you like what came before it. Yuvvraaj could have been a nice old-fashioned campy musical melodrama but is nowhere close. Watch it only if you are a fan of any of the big names associated with this film because even though it was below average I didn’t find it hard to sit through.

Advertisements

Sarkar June 6, 2008

Posted by Sai in Hindi, Movies, Reviews.
Tags: , , , , , , , , , , , , , , , , , , , , , , , , , , , , , , , ,
1 comment so far

In anticipation of the release of Sarkar Raj this weekend, I watched Sarkar once again.

Director Ram Gopal Varma’s tribute to The Godfather isn’t his first film inspired from that source. He earlier made Gaayam (co-written by Mani Ratnam) in Telugu (and even his debut film, Shiva had some traces of inspiration) where many commercial constraints were adhered to but the film was good in its own way and was a success at the box office too. He reuses some parts of that film here but makes a more intense and largely superior film.

Though the content might have been inspired by The Godfather (and Bal Thackeray), this is a completely different and much more taut film. A few scenes and some themes may be similar but this isn’t a faithful remake. And anyone who wishes to judge this film by comparing it to The Godfather or its various inspirations should strictly sit out.

The screenplay of the film is credited to Manish Gupta but Varma, no doubt, had considerable inputs here. But it isn’t so much the script as it is the direction that defines this film. Ram Gopal Varma’s genius is visible in every frame that is so meticulously shot and his style is what makes this film remarkable. And he is greatly helped by his technicians (cinematographer Amit Roy and editors Amit Parman and Nipun Gupta).

The most striking aspect of this film is the brilliant use of extreme close-ups. A large part of the film doesn’t have any dialogue. Varma uses the expressions of the actors captured so minutely through these close-ups to convey the emotions as well as the subtext. The film depends on it completely. And when the characters do speak, they deliver some zingers.

The accompanying background score by Amar Mohile, tries to elevate every important moment and succeeds (some might not care for such dominance by the music but I do). It is interesting that the Govinda chant that has become quite synonymous with this film was originally composed for Varma’s telugu film Govinda Govinda, which belonged to a completely different genre.

With such close scrutiny of the actors in close-ups, acting becomes an extremely important part of the film and each actor needs to deliver. RGV extracts the required performances from Amitabh to Kay Kay to Katrina Kaif and Tanishaa. Amitabh Bachchan, in the titular role, brings out the required intensity with the right expressions and tone. You can almost feel the same reverence towards his character as his supporters in the film show. On the other hand, he makes the vulnerable side of his character thoroughly identifiable in the scenes in the hospital and home after the attack on him. The way Abhishek is portrayed as an obedient son who does not speak out of turn when the family is discussing business matters in the first half and his transformation when he takes the responsibility upon himself to fill in for his father and take over (note the black shirt that Abhishek wears when the transformation is complete towards the end) is superb. And Bachchan Jr is spot on in his portrayal of Shankar. Kay Kay is possibly the best actor on display in this film and he brings out the vices of Vishnu, the bad son, to perfection.

The supporting cast is great too. Despite many supporting players and limited scope, everybody gets noticed. Supriya Pathak is the best choice for the role of Sarkar’s loving, caring and reticent wife. The little known Rukhsar is very likable in a role where she has almost no dialogue. Even Katrina Kaif and Tanisha who, at the time (or even now) had not delivered any noteworthy performances slip nicely into their roles. Zakir Hussain makes a capable antagonist. Kota Srinivasa Rao, who brings out the sliminess of Silver Mani (or is it Selva Mani?), also serves as the comic relief in the film’s most loquacious character. Ravi Kale, who plays Sarkar’s right hand man also impresses but the same can’t be said about Jeeva’s performance as the wigged over-the-top Swami.

Another interesting aspect is the love triangle. The same triangle was also part of Gaayam as also another film inspired by The Godfather, the Kamal Haasan penned Thevar Magan (Kshatriya Puthrudu in Telugu, remade in Hindi as Virasat with Anil Kapoor). All three films have similar characters involved in a similar conflict (the situation is somewhat different from The Godfather) but each gets its own treatment in keeping with the setting, regional and commercial aspects as well as the focus of the respective films.

This is probably the closest RGV has come to making a family drama. The overachieving father who wonders, like any normal father would, what sins he might have committed to have borne a kid that has taken the wrong path. The bad son, whose need to come out of his father’s shadow ultimately drives him down a path that leaves no redemption. The good son, whose respect and trust in his father bears more importance to him than anything else and his willingness to follow in his father’s footsteps and take over the family’s responsibility. The obedient and caring mother, who easily melts over her son’s apparent repentance, like any average mother, and asks her husband to let her son back into the house. The daughter-in-law who has become such an integral part of the family that she prefers to stay with her in-laws instead of her wayward husband. There is so much here that makes this as much a tale about a family as it is about politics (or politricks as Silver Mani would say). Varma clearly conveys to the audience that this is a family like most others. I especially loved the use of the kid (playing in the background, asking for an ice cream) to bring in the aspect of normalcy. A similar effect is achieved through the game of Carroms, the dinner table conversations, the discussion in front of the television and more.

Different individuals might find different flaws in this film. Some might even hate the very things that I’ve loved. Nevertheless, this is definitely a film that is worth watching multiple times to observe the minutiae. It is the detail that makes this film special. It is the interpretation, focus and execution that makes this film different from the others based on similar material. Watch this once if you haven’t yet. If you have, watch it again to observe the detail that you missed out the first time.