Contrary to what seems to be the popular opinion, I had a nice time watching this anthology. As is the case with most anthologies – some shorts works better than the others, and even the best ones do not quite get there – but at the end I was left with a warm, fuzzy feeling , which is what I wanted anyway.
A movie filmed during the pandemic, a story told entirely through a set of screens. The only other film I have seen which followed a similar visual grammar was the 2014 horror-thriller Unfriended, which had unfolded largely through a set of Skype screens. However, a full-length feature-film along these lines is a novel attempt in Indian, especially Malayalam cinema, and considering that this is a product featuring Fahadh Faasil and directed by Mahesh Narayan (who had earlier made the wonderful Take Off), I was obviously excited. And the film didn’t disappoint at all.
On any other Saturday morning I would have sat down to write about a film I just watched with an analytical gaze, creating a list of pros and cons in my head, clinically evaluating every aspect of the film and thinking about how to structure my post. If I was writing about Dil Bechara under usual circumstances, I might have went on to weigh it against John Green’s The Fault in Our Stars (and its Hollywood adaptation) and drawn comparisons. But now it is impossible to look at Dil Bechara as just another film, right? With the tragic and untimely demise of Sushant Singh Rajput looming large above our heads, this film (which is also about death and dying) feels like it is so much more.
I haven’t seen (and don’t intend to) watch Pataal Lok, but I have really appreciated the films Anushka has produced under her banner. They are all exclusively stories of women, and wonderfully feminist at that. Bulbbul too is no different, and it- along with Pari – is the best to have come out of her production house in my opinion.
I don’t why it took me almost 17 years to revisit this film. This film had given me so much, SO MUCH that I believe I would have turned out to be a very different person had my parents not brought home the rented cassette of Sur – The Melody of Life when I was three years old. It has been almost 18 years since this film hit the screens, and I don’t think many people even remember its existence now. I too had forgotten about it until YouTube reminded me of it one fine evening. Now that I have revisited it again, I realize that the film – especially its music – had never left me at all. Some films/songs are like that, no? They might as well be part of our DNA, that’s how engraved they are into us. Sur is that film for me. Continue reading “A Thank-You Letter to Sur-The Melody of Life (2002) – The Film Which Brought Music Into My Life”
I really liked this film! Yes, it is not perfect – far from it in fact. But I ended up buying most of it, despite how bizarre it was. There were parts which were offensive, parts which were too bad to even be thought of as bizarre or quirky, but I found the symbolism and imagery rather fascinating. And here I attempt to find out why I liked it as much as I did.
(Disclaimer: I have read so many think-pieces on this so some of them might have unconsciously inspired my thoughts, but I’ll try to be as original as I can. Also, SPOILERS ALERT – READ ONLY IF YOU HAVE WATCHED THE FILM!)
Enough and more has been written about Anubhav Sinha’s Thappad – from the day of its release to now when its finally on Amazon Prime. I don’t know what can I add on to what has already been said about the film, but I also really want to talk about it. Thappad is a film which got so many things right, but what I really liked about is its mostly accurate representations of how patriarchy manifests itself in the daily life of woman. Most of the time we don’t even notice them when they happen, that is how much patriarchy has been ingrained into us. (SPOILERS AHEAD)
The timing of this film’s digital release is impeccable. It is the perfect film to watch during the lockdown…or perhaps not if you are looking for something to escape your lockdown struggles rather than something that mirrors it. Though the situation surrounding the characters in Sleeplessly Yours (directed by Sudeep Elamon and Goutham Soorya) is somewhat different from the one we are in, the cycle of emotions they go through or is more or less the same as what we are experiencing in this lockdown.
Trance was a film I had been looking forward to ever since it was announced. And why not? It has Fahadh Faasil and it is directed by Anwat Rasheed (the latter had made Ustad Hotel last, a favorite). However, when the reviews came out mixed, I laid some of my expectations to rest. So I guess I can say I went into the film expecting to not enjoy it completely, but also to not find it unwatchable. And that is exactly what I got. Nevertheless, there were certain things in the film that really stood out to me, which is what I am trying to put down here.
Late as always, but here goes my last post in the Best of 2019 series (Part 3 here, from where you can navigate to the previous parts) – my favorite films of 2019. Again, this is a subjective list, and this is only based on the films I have watched. So here goes…