My favourites

The Edge

2006-02-24T00:50:00.000-05:00

http://www.mediacircus.net/edge.html

"The Edge" is a story of two men struggling to survive in the wilderness after their plane crashes. Charles Morse (Anthony Hopkins), a billionaire bookworm, and Bob Green (Alec Baldwin), a fashion photographer and associate of Charles, are the two men. The trip begins uneventfully enough at a small northern resort where Bob is photographing a spread featuring Mickey Morse (Elle Macpherson), Charles' supermodel wife.

However, within the first few minutes of the first act, it is apparent that Charles is a jealous man, and has suspicions of a surreptitious affair between Mickey and Bob. When another fashion model fails to show up for the shoot, Bob and his assistant Stephen hop on a plane to find a photogenic replacement, rumored to be in a cabin further in the bushes. Charles goes along for the ride, which turns out to be a longer trip than expected when the plane crashes in the middle of nowhere. Armed with only a knife, a pocket watch, and what Charles has gleaned from perusing a wilderness survival tome, the three men attempt to walk their way out of the woods and back into civilization. No only must they must brave the inhospitable cold climate and a lack of food, but they must also face the constant attacks of an almost unstoppable bear (Bart the Bear) that is shadowing their every move. Meanwhile, Charles becomes increasingly convinced that Bob deliberately lured him into the wilderness for the purposes of 'doing him in'.

Critically-acclaimed screenwriter David Mamet ("Glengarry Glen Ross") and director Lee Tamahori ("Once Were Warriors") have constructed a surprisingly literate and thoughtful action film, rising above the usual mindless formulaic drivel that dominates the genre. Mamet's gift for loaded dialogue is readily-apparent here-- almost every line uttered by Charles and Bob serves a multitude of purposes. In most films of the action ilk, the majority of the dialogue is geared towards a single purpose, that is, to advance the plot. ("The Peacemaker" is a splendid example of the 'action exposition' paradigm). However, in "The Edge", the exchanges between the two protagonists not only advance the plot, but they also reveal the contrast between Charles and Bob, speak to the themes of the film, and are loaded with subtext and innuendo. There are very few films that you can view a second time and notice the subtleties in dialogue and facial expressions when seen in the context of how the story develops.

I seem to be able to retain all these facts, but putting them to any useful purpose is a different matter.

Two examples in particular come to mind upon viewing the film a second time. First, the emotional convergence of the story is not the battle for survival in the wilderness (though it does figure importantly into the themes being explored, and serves as a means for character growth), but the maturation of Hopkins' character. Charles Morse is a man who finds the courage to transcend the petty fixations of the human condition and to have his actions guided by a higher cause-- achieving a level of moral existence. In fact, angels are a recurring motif throughout the film, indicative of Charles 'earning his wings'-- the bookend shots of a winged Native American god atop a totem pole, the fixation on wings and aircraft, and even Mickey's comments to her husband about him 'looking like an angel', and going on the short trip to 'get some wind under his wings'. Despite everything that happens to him in the wilderness and his gnawing suspicions of Bob, Charles does not react with his primal instincts (though he is given plenty of opportunity to do so). Instead, Charles acts deliberately with compassion and finds the strength for forgiveness in resolving his conflict (now contrast this to the prototypical testosterone-charge thriller which would wrap up conflict with a snappy one-liner and a gruesome death, usually by impalement).

Hey, is that a new watch?

Yeah... dual time zone, tells the time in two places.

What for?

So if I'm L.A. and I want to know the time in New York, I don't have to go through the anguish of adding three.

Another aspect that becomes apparent upon second viewing is how the film develops a thesis pitting action against inaction, expressed via the juxtaposed characterizations of Charles and Bob. Charles, despite being a billionaire and having his nose buried in a book in the first act (interestingly enough, one of the working titles of this film was "The Bookworm"), is a man of action. After the crash, using his accumulated knowledge of surviving in the wilds, becomes the leader and directs the actions of his fellow survivors-- he is fixated on survival and nothing will deter him. Paradoxically, Charles is also 'saved' by his only occasion of inaction, with respect to his feelings towards Bob, as he spends most of the film mulling over what to do about him. On the other hand, Bob's constant inaction serves to undermine the group's survival efforts, which not only worsens the situation (he neglects burying some blood-soaked bandages, which attracts the bear to their camp), but also prevents him from achieving the growth attained by his counterpart. And like his counterpart, Bob's only occasion of action has unexpected results-- an impulsive act guided by an imperfect motivation results in Bob's ultimate failure.

What are we going to do Charles? What are we going to do?

We're going to kill the bear.

What do we use for bait?

We lure him in. You know, Masai boys in Africa, eleven years old-- they kill lions with spears.

Uh huh... how do we lure him?

And what one can do, another can do.

You can't kill the bear, Charles! He's... he's... he's... been ahead of us the whole time! He's playing with us, he can read out minds. He...

What one can do, another can do! You coward! Do you want to die out here? Do you?! Do you hear me?! I'm going to kill the bear... say it!

I...

Say it! I'm going to kill the bear. Say it!

I'm going to kill the bear.

I'm going to kill the bear!

What one can do, another can do!

What one can do, another can do!

This dichotomy between action and inaction is probably best expressed in this exchange between Charles, who is confident in their abilities to survive for a prolonged period in the woods, and Bob, who feels defeated after a missed rescue opportunity (a rescue chopper flies over their location but does not see them):

Did you know you can make fire from ice? You can make fire from ice. Hello? I'm talking to you... do you know how that would be done? Robert? Robert. Can you think?

You moneyed folks. Isn't it...? Isn't it?

Fire from ice, can you think how?

Sit up there, drinks and golf. Screwing the maid. But get you in an emergency... and you bloom! You make me sick! You make me sick, do you know that!?

I'm sure I do.

You fucking make me sick! What they hell puts you off?! Jews and taxes!

Fire from ice. Can you think how? Can you think how?

I don't want to know how, Charles!

Do you have anything you'd like to live for?

You know something? You know something? Maybe we were right to let people like you running the country all these years, because you were the only ones dense enough!

No I'm not dense... I just don't have an imagination.

Making your decision tree? Is that it?

That's it, Bob.

We can't think they'd come back?

We shouldn't think they'll come back. They've scouted this area and they'll move on.

Charles relies on his own instincts and abilities to effect change in their situation. Bob, on the other hand, prefers an externally-created solution to their predicament, one in which he will be required to provide little or no effort in bringing about (much akin to 'praying for salvation'). This theme of action vs. inaction carries on throughout the film, right up to the climax, where the merits of using of an internally-created solution vs. relying on an externally-generated solution are played out in a tense scene between Charles and Bob.

...I never knew anyone who did actually change their life. I'll tell you what... I'm going to start my life over!

Yeah... you'll be the first.

Aside from the expansive wilderness set pieces and some truly thrilling action sequences, "The Edge" was a surprisingly well-written film, resonating with depth and abound with metaphysical exposition. If you passed on this thinking man's action film when it was in theaters last year, take advantage of its availability on video-- it's worth watching twice.

How did they die?

Those men died... saving my life.

Andaz Apna Apna

2006-02-22T06:36:00.000-05:00

http://www.rediff.com/movies/2003/aug/11andaz.htm

Memorable Quotes from Andaz Apna Apna:
“Suno suno duniya ke logon, sabse bada hai Mr Gogo."
"Amar aur Prem, yaane ke Amar Prem. Naam sunte hi main samajh gaya tha ke tum dono awwal darje ke filmi aur awaare ladke ho."
"Tum jo ho woh tum nahi koi aur hai, woh jo hai woh woh nahi koi aur hai, main jo hoon woh main nahi, ya main bhi koi aur hoon? Main kaun hoon?"
"Tumhare baarein mein bahut saare gadhe soch rahe honge Raveena."
"Teja main hoon, mark iddhar hai."
"Chalo, chalo Tillu ko dande dene hai." "Sir, yeh Vasco Da Gama ke zamane ki gun hai.""Kiske mama ki?"

Sound familiar?Anyone who claims to be a movie buff is most likely to be an Andaz Apna Apna fan as well. Let me indulge in some background dough about this laugh raiser. Directed by Rajkumar Santoshi, Andaz Apna Apna brought the two Khans - Aamir and Salman - together for the first, and seemingly last, time on the big screen. Their heroines were Raveena Tandon and Karisma Kapoor who had just begun their careers. Interestingly, the two actresses got into catfights throughout the making of the film. With bloated egos and petty quarrels, it is hardly surprising Andaz Apna Apna took a good three-four years to see the light of the day. Amazingly, there were no traces of this misdemeanour on screen. From an outsider's point of view, all four actors shared great timing and worked wonderfully as a team.

For all those unlucky blokes out there who haven't seen this film, here's a quick recap.Amar 'Haila', smartass (Aamir Khan), and Prem 'Ooi maa', bumbling nitwit (Salman Khan), are two ambitious guys from Bhopal who want to make a quick buck by conning people. Both buffoons sell their father's bangle shop and hair salon respectively to land in Ooty. Both also decide to woo the London-returned wealthy heiress Raveena (Raveena Tandon), accompanied by her friend-cum-secretary Karishma (Karisma Kapoor). Basically, whoever marries Raveena will inherit all of her dad Ram Gopal Bajaj's (Paresh Rawal) fortune. Little do they know that Bajaj has a look alike twin, Shyam, aka Teja (Rawal) who, with the help of his Paplu (Shehzad) Taplu (Viju Khote), is scheming to get his hands on the riches himself. Another character called Crime Master Gogo (Shakti Kapoor), a cross dresser between a pirate and superhero, also has his eye on the money.

What follows from start to finish is an unstoppable session of laughs, more laughs and yet more of it. The good thing about AAA is that it is a clean entertainer and does not resort to tasteless humour or cheap gimmickry. Although shockingly low on production values, it doesn't matter whether the backdrop is Ooty or Film City because of its frothy, engaging content. Come to think of it, Andaz Apna Apna doesn't have an out-of-the-world story, nor does it bank on narrative. It is purely a dialogue-cum-(comic)-action-cum-performance-based film.

My favourite scenes in the film include:
* When Amar and his father fantasize about becoming rich and famous.
* When Amar and Prem land at the same guest house and squabble but instantly turn into an epitome of brotherly love – Lord Rama and King Bharata - when the manager shows up.
* When Amar is forced to gobble down kaali mirch ke laddoos.
* When Prem tries to propose to Raveena only to find himself making unusual visits to the loo instead.
* Amar making a football match out of glass of sherbets.
* Karishma telling Prem she is Raveena and Raveena is Karishma.
* Amar and Prem chalking down a game plan to kidnap Uncle, ie Ram Gopal Bajaj.
* Amar, Prem getting rebuked by Uncle and a couple of reels later the reverse.
* The entire climax.

Aamir's delicious wickedness and I-am-oh-so-sly act as Amar complemented Salman's brawn-and-dumb-dodo turn perfectly. More than Raveena, it was Karisma who was funny as hell in her outlandish costumes and doltish dialogue delivery.

Even though AAA did only an average business at the box office, its popularity is unbelievable on the video circuit.

Jaane Bhi Do Yaaron

2006-02-13T23:42:00.000-05:00

Jaane Bhi Do Yaaron

http://sakshijuneja.com/blog/?p=185

In my opinion, this movie could be considered a ‘cult’ for Comedy movies. It enjoys the absolutely unique distinction of being among the top three films of any Indian who has seen it. That is what a real classic is.

Jaane Bhi Do Yaaron had a dream cast. The acting was spontaneous and the comic timing was perfect. Shah and Baswani shared an amazing tuning. Pankaj Kapur's unapologetic dishonesty balanced Satish Kaushik's clumsiness. Bhakti Barve's ice maiden act was convincing. Also, Satish Shah made one hell of a dead body.

Naseeruddin Shah and Ravi Basvani made a wonderfully contrasting pair of idealistic but amateur sleuths who are out of depths in the real India. But the film was stolen by two of the most talented, and greatly under-utilised, comic actors this country has. Om Puri as a lecherous Punjabi contractor Ahuja, and Pankaj Kapur as the sophisticated Punjabi contractor Tarneja. They just have to be watched again and again.

The main high-light has to be the ‘Mahabharat’ scene. Again and again, for lines such as ‘Yeh kya ho raha hai’ and ‘Shaant Gadaadhaari Bheem, shaant!’ strike an almost too high comic note. This scene is also a masterly parody of, and dialogue with, the North Indian nautanki and filmic tradition, as various periods, genres, stories and cultures flow into each other. The ‘cheer-haran’ scene of Mahabharat suddenly becomes Salim’s confrontation with Akbar in Mughal-e-Azam. Even just thinking about the scene, I can’t hold myself from laughing out loud.

Just recollecting these classic one-liners is enough to tickle the funny bone:

* Shaant gadadhari Bheem shaant.

* Nahi, Draupadi jaisi Sati nari ko dekhkar maine cheer haran ka idea drop kar diya hai. Jai ho, aisi Sati nari ki jai ho.

* Yeh sab kya ho raha hai?

* Bhaiya, yeh aap keh rahein hai? (drastic change of tone) Abbe sale, kehde cheer harne ko.

* Draupadi tere akele ki nahi hai. Hum sab shareholder hain.

* Magar bade bhai ke vachchan ki aagya ka palan karna hi padegaAhuja: Kyun?Abbe natak main aisa likha hai.Ahuja: Palan to humne kabhi apne baap ki aagya ka nahi kiya. Tu cheez kya hai?

* Dhanush tod diya. Teen rupaye ka nuksaan kar diya. Main nahi karta natak watak. Bhaad mein jao tum sab.

* Nalayak, adharmi, durachari, vamachari, bhrasthachari, bol sorry! Apne sasur ko nahi pehchante? Main hoon Draupadi ka baap, Dhrupad.

* This is too much. Yeh Akbar kahan se aa gaya?

Jaane Bhi Do Yaaron didn't end on happy or hopeful note. But it worked. The entire film was a non-stop laughathon.

There was not a single song in the film. But Vanraj Bhatia's fine background score moved in perfect rhythm with the film's swift pace. The zingy beats reflected the duo's adventure; the gentle violin suggested a hint of possible romance between Vinod and Shobhaji.

My Favorites

2006-02-11T00:21:00.001-05:00

watching the candle burn…

the ‘cutting’ chai at a road side stall on an early morning…

an unexpected phone call from a friend saying she misses me…

a peck on the cheek by my beloved…

a plate of hot steaming “chole” at marine lines…

a tight hug from my darling niece…

holding hands with him…

a good night’s sleep besides by my grandma…

a jagjit singh gazal…

the pitter-patter of raindrops…

the morning dew…

the splash of colours at sunsetma’s lecture for not taking care of my health…

late night talks on the phone with a close friend…

writing down my favorite things in life in a candlelight…

talking, laughing, having fun…

walking through the woods…

listening to music, anytime, anywhere…

gazing out of a train window…

cooking a surprise meal for ma…

watching the last of raindrops fall from the leaves after the rain stops…

the “kala-katha” ice gola in summer…

the pickles in winters…

the bad patches in life……
and the better ones that soon follow…

the mornings when I move around with a dance in my steps…

“friends” on zee English…

a cute puppy…

licking off the tip of an ice-cream…

window-shopping with no money in pockets…

a heart-to-heart talk with ma…

a good pillow fight with didi…

missing dad…

hearing about our childhood from parents…

getting nostalgic about the good-old college days…

a ride with him on the bike…

a spicy pani-puri, followed by a sadha puri…

sleeping on my ma’s lap, and feeling her fingers move through my hair…

a plant nursery…the view from a mountain top after a treacherous climb…

a family get-together at a function…

satin ribbons…

sitting quietly in a temple, watching people pray…

the smell of new stationary…

éclairs…

a full-moon night…

a quick afternoon nap…

a dinner with close family friends…

a blind date…

a strong filter coffee…

steaming dal-rice served by ma…

sunflowers…

a slow train...

a five star Cadbury…

“Tom & Jerry” on cartoon network…

a heavy breakfast…

amazing wallpapers for my computer…

cooking up fairy tales and stories of Krishna for my niece…

watching her frightened face as the demon arrives…

watering the garden early morning…

a peacock’s feather…

a home-made sandwich with a tasty ”pudina” chutney…

a rosebud in the garden…

watching him when he’s asleep…

krishna’s temple in pandharpur…

dancing in the rain…

long journeys in the state transport buses…

a late night action thriller…

a sudden, out-of-nowhere kiss from him, interrupting my nonstop chatter…

writing long, heartfelt letters to dear ones…

baby pink colour…

a good book…

my journal and my pen…

pot-painting…

painting a house…

running my fingers through his hair…

watching the fish swim…

a rainbow…

a splash of colours…

the smell of carbon as I blow off the candle…
.
.
.
life…

Khushboo

2006-02-11T00:04:00.000-05:00

http://www.rediff.com/movies/2003/apr/12dinesh.htm
Review by: Dinesh Raheja

She may have never heard of feminism, but there is something very appealing and affirmative about the female protagonist of Gulzar's Khushboo. A product of her times, this rural woman of substance and silences is also determinedly self-assertive.

Hema plays Kusum, whose life is an agony of self-repression slightly tempered by hope and anticipation. In her childhood, Kusum was engaged to marry close companion Brindaban (Jeetendra). An inter-family fallout prompts Brindaban's brusque father to humiliate her and her mother. We are given an insightful look into Kusum's personality when we see her next, burning the flesh of her own hand on which Brindaban's name is tattooed.

Kusum is not able to expunge from her heart and mind the belief that Brindaban is her husband. Brindaban, now a doctor and widower with a son (Master Raju), returns after years elapse, and Kusum has decidedly mixed feelings.When Brindaban's benign but innately patronising mother (Durga Khote) meets Kusum's brother Kunj (Asrani) and counsels against Kusum's unmarried state, Kusum snaps at him, "Kunwari kehte huey sharam nahin aayi unhe? Mere liye bheekh maangne ki koi zaroorat nahin [Wasn't she ashamed to call me unmarried? There's no need to beg for me]."

Later, Brindaban's mother offhandedly gifts her some bangles considered an auspicious token of a forthcoming marriage. Kusum, still seething at long-unaddressed slights, returns the token. There is a softer side to Kusum, which comes to the fore in her many frolicsome interactions with Brindaban's son, Charan, who, she insists, call her Ma. She also melts when Brindaban explains the circumstances that led to his marriage to Lakhi (Sharmila Tagore), a hapless woman whom he saved from suicide.

After the implicit flashback explanations, Kusum expresses a willingness to accompany Brindaban to his home on the morrow. As fate would have it, Brindaban is prevented from fetching her and Kusum is shattered.

Caught up in a maelstrom, their turbulent lives find expression in the song O manjhi re, especially in the line Paaniyon mein beh rahe hai kai kinare toote huey. Further tragedy strikes when the countryside is invaded by the dreaded plague. Brindaban's fleeing accountant leaves Charan at Kusum's house. She pressurises a harried Brindaban into staying at her house as well whilst battling the disease.

The manner in which Gulzar etches Kusum's character is the substructure of this story. There are stormy passions submerged within Kusum's calm exterior but she remains outwardly understated. There is no screaming and shouting. Also, Kusum obviously 'feels' intensely. And while Brindaban may not reveal visible signs of as much depth of feeling, he recognises and appreciates her intensity.

Gulzar enriches the slight story by employing a leisurely exposition style centring around a lush Bengali riverside village; and salts his tale with humour in Kusum's friend, Farida Jalal. She plays a bride who is happily stuffing herself at a time when it is conventional to be nervous and lose one's appetite.Deft touches abound.

After an ecstatic Kusum warbles Ghar jayegi, doliyan chad jayegi into the night, Charan retorts, "Itni zor se gaogi toh kaise soonga [If you sing so loudly, how will I sleep]?" Later, when she says she cannot accompany him because she has not been called, he says, "Ma yeh baaja le jaaoon [ Can I take this harmonica]?" She also blackmails the kid into calling her mother "Ma bolo to laddoo doongi!"The adult world of injured egos is shown to not really impinge upon the child's universe.Also endearing is the characters' deep humanism, whether it is Asrani who unselfishly loves his sister, or Farida's fiancé who expresses dismay at his wedding, having kept the doctor away from his duties, or Jeetendra's concern for a hapless Sharmila and her nani (grandmother).
At the time of the film's release, the biggest shock was seeing commercial stars like Jeetendra and Hema Malini deglamourised. Jeetendra wore glasses and Hema eschewed her wigs for non-coiffed hair and cotton saris.

To Gulzar's credit, he extracted performances that are quietly pensive and effective. Even a quarter century after it was made, Khushboo's fragrance still lingers in its intimate explorations into the minds and hearts of ordinary folk.

Sidelights:
*Gulzar presented Sharmila Tagore in a cameo role with a new look and erased mannerisms. Egged by the response she received, Gulzar cast her in Mausam.
*Hema shot for Khushboo and Sholay simultaneously and remembers being disconcerted by the experience. Ramesh Sippy would ask her to rattle off her dialogues at breakneck speed to suit her character while Gulzar would insist on Hema speaking slowly.
*Khushboo's Sharmila episode about a woman waiting for a lost love was developed into a full-length feature film with Namkeen.
*Gulzar's penchant for certain evocative words is given full play in his lyrics and his film titles. This film's title recalls a Gulzar number from an earlier film Khamoshi -- Hamne dekhi hai in ankhon ki mahekti khushboo. Khushboo's famous song, O manjhi re, apna kinara, cropped up again as the title of his subsequent film, Kinara.

Songs:
Bechara dil kya kare
Ghar jayegi
O manjhi re
Do nainon mein aansoo