Friday, February 20, 2009

There is something about Delhi-6...

Originally Published here on

Why do we love Ramayan love so much? Of all the factors that peoplecan possibly come forward with, I’ve a relatively simple answer. We love Ramayana because of Ravan. Because, he distinctly draws that line. He writes it on the wall and declares which side he is standing. Now, that makes our job much more simple of where do we want to position ourselves. We need a hero, so that we may want to be like him. We need a villain so that me may stand on the opposite side of wall. Who the hell are we? Mixed vegetable hain sirjee. Thoda Paneer to thoda mutter.

Roshan( Abhishek Bachchan) comes to India to drop his ailing grandmother. He is flabbergasted by the loudness and madness, where every hour is a celebration of a celebration, where every minute is an event in itself. He neither loves it nor hates it initially, but, is rather fascinated by it. His Motorola cell phone connects him to a world never seen before. He is greeted by a host of interesting characters, who attaches a different meaning to every emotion experienced by him before.

There is not much of a story to boast about in Delhi-6, it is about the journey of protagonist, though to much disappointment, unlike Lucky, he reaches a destination. A forced one. In the first half, the flow of the movie is inconspicuous by its absence, there are sudden stoppages, hiccups, gathering and moving on again. It can be a bit uneasy as an audience to register this, but, since there is so much to show and talk about the Dilli, that the camera is just too busy doing the hopping business. There is just too much going on in the first half.

Mehra’s sense of subtlety, attention to details and metaphors makes it a delightful watch. But, when you have just basked in the essence of scene, Mehra comes back abruptly on to your face and takes care to spell it out. Why would one like to do that? For instance, take the beautiful conversation between Abhishek Bachchan and Rishi Kapoor, where the latter explains how he lost in love, and how desperately he tried salvaging it in whatever way he could. Kapoor’s one line seals it all, but, then, he explains himself again. One doesn’t even get the chance of reveling in that line before being explained like a 8 year old. Same for the fakir’s use of mirror, it was evident, but Kulkarni lectures about it unnecessarily. And these are not the only two scenes.

The music of the film, needless to say, is nothing but jaw dropping. Rahman. Period. Let’s move on. The dream sequence in Dil Gira Dafatan is nothing but amazing, but, after watching the movie, the standout song of the movie without even a speck of doubt is, Rehna Tu. Before watching the movie, I could almost imagine a Chupke Se kind of a treatment being done to it. But, after watching the movie, one realises that Mehra almost reverses the conventional treatment this song could have been meted to. And the lyrics makes perfect sense when viewed in that context. Mind Blowing stuff. Rehman, Joshi and Mehra killed me then and there. Drop dead. Watch the movie and experience the scent of these lines:

Haath tham chalna hiTo dono ke daye haath sang kaise
Ek daaya hoga ek baaiya hogaTham le haath yeh thaam le


Mujhe teri barish mein bheegna hai ghuljana hai

Now, comes the most important part of the film. Climax. Rakeysh Mehra has a penchant of shockingthe audience, he just has to do it. He is not satisfied until and unless, he doesnt’ find anything out of the ordinary to end his film with. He almost killed a beautiful RDB with the garish climax, same happens here too. it seems Mehra is more comfortablelewith the journey rather than the destination. In both the movies, the first two hours flows naturally, while in the last twenty minutes you can almost imagine Mehra scratching his head and thinking about the climax. Thinking too hard. It looks as if he comes up with a ’solution’ to a problem more than anything else. Almost analogous to a 5 paragraph model students have been ‘programmed’ to write in most of the schools. Where is the fucking ‘conclusion’? Mehra wonders aloud. Why it has to be so forced? You may want to retort back. The last 15 minutes killed it. Almost. I say almost because because the first two hours is so damned well made that it would be atrocious of me to deride this movie. Logically, Maths does not allow me to do so. Nor does my conscience.

Saturday, February 14, 2009

Film-fare? Awards...

Originally published here on

It is that time of the year again. When Filmfare announces its award for excellence( in movie making? well, that’s for you to figure out). You might want to scratch your head and wonder why this article is there in the first place, isn’t it PFC? The place where we don’t look beyond Oscars, Golden Globes, BAFTAS and their likes. Where it is assumed(yes, yes, you guessed it right, the ‘intellectual types’) we think A stands for Akira, instead of Aditya and K stands for Kieslowski rather than Karan. I know. But, then the fact that these awards are the alleged representatives of one of the best movies to come out of our country( National Awards, you may argue, but then, is the majority of ‘aam junta’ really bothered?) makes one cringe with irritation after glancing through the nominations. I didn’t even think twice when one of the many illegetimate sons of Filmfare awards, gave Race the Best Screenplay. But, this is Filmfare, and in its 54th year. Oh darling ye hai India, we are different. By almost every means. We award a Maine Pyar Kiya over Salaam Bombay, when a portrayal of Aman Mehra wins the best supporting award, and portrayal of Bhiku Mhatre is given a consolation nomination. Well, I could go on and on.

The question I want to raise here is: What should be the yardstick of these awards? Should it go by awarding genuinely good movies, or, the movies which the masses lapped up? Once in a blue moon, a Hindi movie qualifies, which can do both. When did the Black lady lose its moral? For as long as I can remember the awards of early 80’s and the decades preceding it were still applaudable. ( Ardh Satya, Kalyug, Khubsoorat.etc were awarded the best movie).

Shouldn’t there be that balance, heck, I would even settle with that. But, year after year, what we have is senseless movies having a bagful of stars making it to almost all the categories. There is always a critics award, to keep everyone happy. A Power award so that the tube lights of the venue can be switched on. This year too, has been no different. Most of the movies about which people debated here and intricately pointed out flaws have been shamelessly put there. It is a starry night after all. Where is Mumbai Meri Jaan, Dasvidanya, Mithya, Aamir, and for me the best movie of the year - Oye Lucky Lucky Oye?

Bol Bol, why did you ditch me WHORE?