Boyhood

‘Boyhood’ (2014, Dir: Richard Linklater, the same guy who did 'Before Sunrise' in 1995) is a well-known American film about growing up; its USP being that it was shot over 11 long years, and followed its child actors (playing specific characters in the film) as they grow up into early adulthood (both inside and outside the film). I thought it was quite verbose and self-conscious, although it is a peculiarly affirmative experience watching the players play the coming-of-age roles in physically real times, adults included. But the disjointed and laidback narrative, stitched together over eleven years of shooting / editing / reflection, does not work for me, in this instance.

Before Sunrise

‘Before Sunrise’ (1995, directed by Richard Linklater) - a good looking American young man nursing a rejection has an impetuous one-night almost sexual rendezvous with an equally good looking similarly hurt young French woman, in the quaint and classical trams, travels and taverns of a prosperous Vienna, never to meet again (almost). Reminded me of Hiroshima mon Amour. Lots of ‘meaningful’ dialogue. Very little of obvious drama. Not really a great film. But intriguing, nonetheless.

Matru Ki Bijlee Ka Mandola

20 January 2013
I am someone who respects Vishal Bharadwaj's work quite a lot. But he has been steadily going downhill, starting Kaminey, then 7 Khoon Maaf and now Matru Ki Bijlee Ka Mandola. The last mentioned is so devoid of homework and reason. Was happy to see our Lekha Washington in a brief appearance. But the cast is mostly disappointing. Anushka Sharma should now reinvent herself - including abandoning her skinny meat shows and bubbly babe acts. Imran Khan tries hard to be a Haryanvi Mao, without any justice to either Mao, Haryana or himself. Pankaj Kapur is rock solid, in a void. Sometimes (only sometimes) the dialogues make you sit up and take notice.

DANGAL starring Aamir Khan and Directed by Nitesh Tiwari gets two stars - a star for its four Geeta and Babita actresses (both sets - young versions and older) full of underutilized potential and another star for making wrestling (women's wrestling, on top of that) look engaging and sexy on the mainstream big screen. Just like in TAARE ZAMEEN PAR and DHOBI GHAT however, Aamir Khan's appearance spoils the show, making it a mere superstar vehicle. The binary pop nationalism is disturbing, devoid as it is of nuances. And for God's sake don't treat sports as an arena for reinforcing naive and politically expedient ideas of one's inherently superior Bharat Mata. Also kindly desist from pseudo-feminist but fundamentally patriarchal stances.