The secret life of the clergy

Re-posting an earlier review of this film with edits as a submission for the Reel-life Bloggers contest run by the fine folks at wogma and reviewgang.

Ed Norton, as always, a prime pick. I tend to choose films by directors and not actors - Chris Nolan and Baz Luhrmann being directors whose works I enjoy, with Steven Spielberg and Cameron Crowe high on the list too. Ed Norton's an exception. Primal Fear, Fight Club and The 25th Hour later, Ed Norton's a guy whose films you watch, simply because he's chosen them.

Keeping the Faith was similarly recommended. Picking up the DVD, I realized that he's directed the movie as well. This gets better.

The premise is simple. Two guys. One girl. They've been friends forever. She left when they were in eighth grade and went to the other coast. Now she's back. She's beautiful, smart, the kind they both fall for.So, a love triangle, right?

Not completely. He's a priest. Catholic at that. His best friend's a Rabbi. She's not Jewish - complications all around. He wants to tell her. His friend already has. She likes him (the Rabbi, that is) as well. Problem: He cannot see her and continue his relationship with his mother or the Synagogue. Ah, the tangled webs we weave.

For me, the film was a revelation in some ways. It showed a couple of clergymen of two of America's most prominent religions as regular guys. They wear shades, play basketball, and yes, occasionally swear too. Seeing them out of their robes was a surprise by itself. (I don't know, imagining our batt-ru in a leather jacket doesn't quite gel).

They falter, as all humans do, and find the faith (in themselves and those around them) to carry on. The film is reasonably well written, offering all three - Ed Norton (the priest), Ben Stiller (the Rabbi) and Jenna Elfman enough to do. Ed Norton as always lives the role, something he did frighteningly well in Primal Fear. Ben Stiller is subtler than some of his more recent roles, showing he's capable of better, and Dharma fits the role to a T.

The whole love triangle thing gets a tad awkward at times, but nothing to kill the movie completely. Some laughs, some tears, a drunk scene, a showdown, a punch and all's well with the world again. I admit, I probably liked the film more than I should have but smart rom-coms are so hard to come by that good ones are worth the watch.

Everyone thinks his story is the one with a twist.

On Rocky and the Underdog

Re-posting an earlier review of this film with edits as a submission for the Reel-life Bloggers contest run by the fine folks at wogma and reviewgang.

Spoiler alert: For someone who's not seen the movie and cares to not know the ending to a non-thriller with a non-Shyamalanesque twist, don’t read this post!

Rocky is one of cinema's big cliché movies. The story of the underdog who overcame the odds to become something bigger than himself. The backstory of the movie itself is similar, with Stallone pushing the script door-to-door, refusing to make the movie unless he got to be Rocky as well. The story to trump all stories, the movie won multiple Oscars, including Oscars for Best Film and Director, and nominations for Stallone for the screenplay and (gulp) for his acting. Rocky got so crazy that there were eventually five Rocky movies. Stallone went on to become a billionaire, giving us other classics like the Rambo series, The Expendables and some really bad acting.

When I first saw the movie, I was underwhelmed. There was a bit to the tale, but I didn't see much. One of the explanations that me and my friend (whom I saw the movie with) could muster for the success and resonance of the movie was that it was arguably a function of the times. The late 70s with a bad economy and general doom and gloom in the Carter years meant that the movie symbolized hope for the underdog in some ways. Maybe in the more prosperous '0s, that wasn't so true anymore, and we couldn't (and could never) 'get' the movie.

I was wrong. I’ve caught parts of it on TV later, and as I think back to the movie now, it (the movie) makes more and more sense. Part of it is arguably that I've grown older and seen more of life since then. The character-building itself is one thing, but what holds the key to the film is the last, actual boxing match. The night before the match, Rocky says to Adrian, "Cause all I wanna do is go the distance."

And go the distance he does. Even as Apollo pummels Rocky, he just keeps coming back, doesn't he? He really shows no sign of giving up. He does go the full 15 rounds to lose on points. What matters there is the fact that he goes the distance. Every blow that he gets, he manages to get up again, ready to fight.

Like Simon and Garfunkel sing poignantly,(not about Rocky, though this could apply)

In the clearing stands a boxer, and a fighter by his trade
And he carries the reminders of every glove that laid him down or cut him
’til he cried out in his anger and his shame
I am leaving, I am leaving, but the fighter still remains
Yes he still remains.

Hell, yeah. Rocky's my hero. Now, if only they hadn't made those sequels...

Celluloid City

Bollywood films typically exist in some sort of never-land. This has been true from way back when. Even when Raj Kapoor’s films wanted to portray the struggles of the Everyman struggling to retain his soul in the Big, Bad City, the city itself was amorphous. A Bombay look-alike, but not quite the real thing. Clichéd stock shots of V.T. and the city’s Fort area were meant to depict the Metropolis in all its glory.
And so it went. A lot of films from the 60s and 70s all the way through the 80s tend to repeat this theme. The reasons may have been varied – catering to an India-wide audience or maybe just the hassle of shooting on location. Stock shots, sound stages and compromises. It’s a time where it’s hard to remember mainstream films with a great sense of place. Unlike, say, New York in Breakfast at Tiffany’s, or the gritty city seen through new eyes in Scorsese’s and Woody Allen’s 70s masterworks, we did not have our own filmi City of Dreams, as it were.
The first memory I have of a film with a more unique city view than most, is for some vague reason, Chashme Baddoor. Being shot in New Delhi gives the film a visual style that quite varies it from the smaller Amol Palekar films that are its genre and period brethren. Those films too were shot on location in Bombay – waiting at bus stops along Worli seemed a favorite past-time, but still, it all seems very generic.
However, what really brought the power of stage-setting home for me personally was Ram Gopal Verma’s Satya. I somehow associate it with the city very strongly – location, sensibility, plotting (there’s a whole bit explaining the geographical distribution of territories between Bhau’s lieutenants). The ending in a very Mumbai milieu – the Ganapati visarjan at Chowpatty just drives the whole thing home: this is a Bombay (was it Mumbai already then?) gangster film.
What has changed in the intervening 15 years? The multiplex boom does mean that there are diverse settings that film-makers can now explore. Be it the soul-sucking environs of an industrial town (Jamshedpur, Udaan) or interior Rajasthan (Manorama: Six Feet Under), it’s all game, if only the filmmaker is brave enough to reach for it. Even the quintessential Mumbai film has moved from a state of mind like in Dil Chahta Hai to films where there’s some level of effort to include non-cliched parts of the city(Bluffmaster, Jaane Tu…)
However, the most remarkable trend I’ve noticed in the past few years has been the rise of the “Delhi film”. AG observed in a conversation just four or so years back that Rang De Basanti was the only real Delhi film we’d seen in years. But the past 3-4 years has seen the explosion of a variety of Delhi films, the likes of which Bombay/Mumbai never really saw. Dev D, Oye Lucky! Lucky Oye!, Delhi-6, Do Dooni Chaar, Band Baaja Baaraat, Delhi Belly all show the country’s capital from different eyes. The seedy underbelly of Paharganj contrasts with the tony wedding soirees of Sainik Farms in various ways, with detours through middle class neighborhoods along the way.
Fittingly, over 50 years after Yeh hai Bambai Meri Jaan, Delhi got its own Bollywood anthem this year. Gai kaat kalejaa indeed.

Random Music Musings–The Return of the Blog

In fits and starts, I try. The drafts folder on my PC is testament to these efforts, but heck, this seemed like an easy way to get something up here after one previous attempt to restart this blog. Someone once said “Great artists ship”. So wannabe bloggers…tweet?

-  It is not very often that chart-topping popularity and true quality meet in music, especially in that all-encompassing ‘pop’ category. However, Adele has managed just that, and how! 21 is a powerhouse album. It’s impressively mature, especially as a musical statement, drawing on the same neo-soul vibe that made Amy Winehouse’s short career. While the songwriting is frayed in places, you want to forgive her that. She is only 21, after all. 

- Radiohead is one of my favorite bands, simply because of the amount of texture in their music and arrangements. However, one of the things that dawned on me recently was how dance-friendly some of their tracks can get. I was browsing in a bookstore this week, and found myself bobbing my head and tapping my feet to Reckoner from In Rainbows. That rhythm section is to die for.

- I’m quite annoyed by the constant sniping about lyrical quality in Hindi films today. While all the attention was paid to Bhaag DK Bose and Character Dheela, I wish there was more attention paid in media to the good songs and the people behind them.

Except for a recent profile in Open, I’ve seen no good profiles of Amitabh Bhattacharya, who in addition to doing DK Bose and Character Dheela, has also done pretty amazing “traditional” songwriting for Udaan, I Am and No One Killed Jessica. Aitbaar in NOKJ comes together in a way no song in any soundtrack this year has – the lyrics and music conveying anger, despair and a welter of complicated emotions in one explosive package.

Previous music musings - I, II, III, IV and V

Lost in Translation

 

While they say great films can truly transcend language, how do films cross this barrier when language is part of the deal?

I’m thinking of this as I scan reviews for The Fighter released in India last week. I see a lot of Indian reviews dismiss it as another middling-to-good ‘boxing’ film. While I still haven’t seen it, I think that the most interesting thing about it is not the story but the performances (of course, 2 Oscars went to the supporting cast) and the portrayal of the boxer’s family from a working class neighborhood in Lowell, Massachusetts.

What of their accents? Does the portrayal of the matriarch and the family ring true? Are these nuances lost on an Indian audience, or more precisely, on Indian reviewers?

A sense of rootedness places films in context and can enhance your viewing experience. For instance, I can’t think of Omkara without the rustic dialog, or Raging Bull without Robert De Niro’s very New York twang. How much context do we lose while watching foreign films because we may have no way of having it?

Small Pleasures

There’s a tendency to want every media experience to be extra-ordinary. Every album should be Sgt. Pepper’s, every film should be a Sholay and every TV series should be a Battlestar Galactica.

However, in the timeline between Chris Nolan, Radiohead and Joss Whedon, there lurk lovely little gems. They aren’t masterpieces or classics, but they have their own special place. They light up your life in small ways at unexpected corners. They never change your life, but they definitely make it less burdensome to live on a day-to-day basis.

I remember making this remark about Kaminey on Twitter (on why it was unfair to burden the maker of Omkara and Maqbool with so many expectations) . “It’s a small film with smaller pleasures.” And I’d definitely apply that to these films/TV series.

As I’ve shifted my TV viewing away from ‘live’ TV to more and more shows on DVD and streaming via Netflix, I’m encountering a lot of these. It’s been a lot of fun and a million times better than watching another rerun on TV.

Inside my comfort zone

In It Might Get Loud, Jack White makes a remark that stuck. To paraphrase, he states that great art comes from emotional conflict. He talks about how he has to stop himself from getting comfortable and take himself to a hard place emotionally, because that’s the only place from where his creativity flows.

As I look at the frequency of posts on this blog go down, I wonder about that more and more. This blog isn’t high art, and I’m not Jack White. However, writing here requires a level of ardor that I don’t feel that often anymore. I’ve been in a number of situations this year that would have me mad, or angry or happy and pages of (bad) musings would’ve come out of it. But not anymore. So this blog sits, forlorn.

This emotional settling down isn’t necessarily a bad thing, as I was too excitable for my own good in the past. But I worry about crossing over and becoming blasé. The world is a beautiful place and there’s lots to love and be excited about here. It’s just that a lot of things don’t seem  as blog-worthy anymore. In addition, tidbits, random insights and link-love have passed over to Twitter. 

As the zeros draw to a close, I don’t fret about the future of this blog. It has its place and its pleasures. It’s just that I (or you, dear reader) will partake of it less frequently than before.

Be Kind, Rewind

The flight now seems interminable. I’m looking at a row of seats next to me with screens flickering various stages of recent blockbusters. Ben Stiller is still running amok in museums while Arnold rises, buck-naked elsewhere. Staccato gunfire echoes from someone’s headphones that are way too loud. The steady hum of the jet makes you wonder “Don’t they build sound dampers into this damn thing?”

The end of a vacation is a time of ‘epic suckage’ (to use a recent hip expression I picked up from an acquaintance). Security checks, removing shoes and belts, metal detector passes. Things you grinned and bore with a song your lips on the way out here suddenly become onerous.

Every moment is fraught. “This may be the last time I drink coffee here.” (though, at the back of your mind, you know you’re going to come back. Soon.) Wistfulness sets in even before the trip is over. You look at photos in the tiny screen of a camera, trying to hold on to something that is slipping away, fast.

*sigh*. It’s time to stop fretting. Life as you have known it for years now awaits on the other side of the Atlantic. You try to switch off this feeling of dread by tuning in to the bizarre pleasures of The Hangover.

This was written on the flight out from Zurich to JFK after a most enjoyable 10-day vacation. More posts on the vacation itself coming soon. This was unfortunately the most well thought out of the paper posts from my diary, so this goes up first. Last-In-First-Out, stack-style.

A R Rahman's Slumdog Millionaire OST

This isn't a review. Just a few quick observations on A R Rahman's musical technique.

When I started watching Slumdog Millionaire, I was trying to guess whether the soundtrack and background music was by A R Rahman. I didn't know because I saw the film without reading or following too much about it. I wanted to watch it with no preconceived notions. The opening chase song O...Saya had a characteristic Rahman feel - expansive sound, ARR-sounding vocals and a train beat to go with the train visual. But M.I.A's arrival on vocals threw me off the scent.

Then I got so caught up in the film that I stopped thinking about it. A compliment for good film technique (and background music ) is that it doesn't draw attention to itself outside the context of the film while you're watching. The music fits the film perfectly.

During the song-and-dance end credits though, there was a point when Sukhvinder starts singing the chorus Jai Ho. He starts by himself with a backing layer of keyboards. Sometime into the second refrain, an additional layer of music kicks in, making for a goosebump moment.

At that point (maybe a minute before Rahman's name pops up in the credits), I had my answer. No one quite layers sound for effect like he does. He draws you out slowly, adding layer on layer, preparing you for a final assault and a pitch-perfect crescendo.

Another interesting  technique that I noticed is the use of voice as sound. While his liking for fresh playback voices is well-known, what is probably not appreciated is how those voices add to the 'sound' and feel of a song. An example that immediately comes to mind is the female playback singing in Pappu Can't Dance! and the use of Vasundhara Das for barely two lines in Kahin To*. The use of Mahalaxmi Iyer( or is it Tanvi Shah?) on vocals in Jai Ho does that perfectly. Complimenting Sukhvinder's earthy voice and the Spanish-sounding chorus, that voice breaks through and registers on a different level. I'd have expected Alka Yagnik or someone similar to sing that exuberant love song but he surprises us, defying our musical expectations to come through with something bordering on the sublime.

*Vishal-Shekhar's use of Preeti and Pinky in Bluffmaster for Say Na Say Na qualifies too

Observations on a desi indie splurge

This is a great time to be a Hindi film-watcher, especially if you like the offbeat. Not since the 'New Wave' filmmakers of the '80s have we had such a surge of filmmakers daring to make films off the beaten path.

This trend is of course different from then. The presence of NFDC to fund these films and no real commercial considerations resulted in a lot of 'important' films of uneven cinematic quality and limited mass appeal. However, it also saw the emergence of a lot of great filmmakers and actors.

However, the rise of "multiplex cinema" has resulted in a rise of a lot of brave filmmakers who are trying different things - spanning small dramas (Ahista Ahista, Dasvidaniya) and eccentric comedies (Bheja Fry) all the way to noir (Johnny Gaddaar, Manorama - Six feet Under) to the  weird (Mithya) and plain bizarre (No Smoking and the upcoming Dev. D).

Importantly, these filmmakers are doing it in a self-sustaining way. They seem to be making enough money or generating enough interest from producers to get second and third films off the ground. The output of such films is only increasing. These films don't necessarily tackle weighty subjects but are accessible and surprisingly willing to subvert Bollywood tradition with no stars and limited to no songs.

At the center of this vortex appear a set of usual suspects. The first is a group of people I call the Rajat Kapoor clique. Somehow Mahesh Uncle from Dil Chahta Hai seems to be at the epicenter of a lot of unusual indie film activity - either as a producer, or as a director or in some supporting acting role. In leading and supporting roles around him are Ranvir Shorey, Vinay Pathak, Saurabh Shukla and (surprise!) Neha Dhupia. For instance, Rajat Kapoor directed Mithya, while he makes an appearance in the Vinay Pathak-produced Dasvidaniya. Vinay and Ranvir show up and deliver solid performances in anything and everything involving the other two. Neha Dhupia turns up as the mandatory female interest in both Mithya and Dasvidaniya. Saurabh Shukla acts in supporting roles and is often involved with the script.

Another leading character is Abhay Deol. If I've rooted for some Indian film actor over the past couple of years, it has to be this guy. I remember picking up Socha Na Tha for a weekend watch on a whim and being completely impressed with the film. He's subsequently proven so fearless and sharp in his film choices that I wonder if he's really from the same family as Bobby Deol. Ahista Ahista, Ek Chalis ki Last Local, and Manorama were all films that had their high points. His acting is competent without being spectacular - but he can definitely carry a film. However (I'd like to believe that) his name attached to a film gives it cachet at least among a certain section of the audience.

As for writers and directors, we're in a bit of a glut aren't we? Dibaker Banerjee (Khosla ka Ghosla, Oye Lucky Lucky Oye), Anurag Kashyap (he of the many banned films fame),  Sriram Raghavan (Ek Hasina Thi, Johnny Gaddaar) and slightly more mainstream directors like Shimit Amin (Ab Tak Chhappan, Chak De...India) and Vishal Bharadwaj. And I missed out half a dozen more notable names.Whew.

I remember a time in the '90s when there were maybe two-three Hindi films worth watching in a whole year. A sore point with interesting non-mainstream films was access. I remember being so excited when they showed Santosh Sivan's Halo on DD on a saturday afternoon. 

With multiplexes and easier access to DVDs, yes, being a desi film fan is so much better these days.

* This is from a very unscientific set of observations - I saw Mithya, Ek Chalis ki Last Local and Dasvidaniya all on DVD over the course of a week.

Rock On!!

AG once remarked how Shankar-Ehsaan-Loy were very clever with the hooks in their songs. A prime example offered up then was the brass band trumpet refrain in Tainu le ke from Salaam-e-Ishq.

Rock On!! adds to that oeuvre with the blistering lead guitar solo for the title song. An ear-worm of a piece, it's made me listen to that song at least 30 times in the past week alone.

The soundtrack is an absolute winner. In a Bollywood where song sequences increasingly mean exotic locales, dozens of dancers and pointless breaks in narrative, Rock On!! succeeds because it performs (quite well) the duties of soundtrack music - drive narrative, evoke emotions and tell stories.

Javed Akhtar is pure genius as he manages to write quirky, sometimes idealistic but mostly pointless rock music lyrics (most of the film band Magik's songs), a really bad metal band song (Zehreelay), a sappy teenage ballad (Tum Ho Toh) and lovely, dreamy soundscapes (Phir Dekhiye and Yeh Tumhari Meri Baatein). S-E-L are in top form as composers, with the sound of a rock band emerging clearly. It's standard stuff: guitar intro, lyrics, simple chorus, long lead guitar solo, rinse, repeat. But that's what most new bands are about and it's quite nicely done.

Farhan Akhtar does a good job as a singer. I mean, he isn't expected to be Mohammed Rafi, and his singing is good enough for a college rock band. 

Of course, what makes it all work is the film. The soundtrack isn't much without the film, and vice-versa. Writer-Director Abhishek Kapoor manages to build a whole world around the characters, all of whom live their roles with attendant instrument-playing. I won't bet my life on it, but what appears on screen seems to be in sync with what the band is playing. Maybe the long guitar solos are made-up, but the vocals, harmonies and the drumming was definitely spot-on. The lack of a bass player is explained away in a sentence ( Luke Kenny's character programs bass on the keyboard) and I'll give them the benefit of the doubt since they got most of everything else right.

While the film isn't a classic by any standards, it's low-key and honest, a rarity in Bollywood. And it still has humor, warmth and a style all its own.

Watch Out For: A rock Dandia version of Saanson ki Zaroorat Hai Kaise from Aashiqui - for me, one of the funnier moments of the film.

And now I'm off to listen to Rock On!! the song again...

Nick Hornby

My first brush with Nick Hornby was a few years back. I was in India then and I saw a movie about a record store owner who's just broken up with his long-time girlfriend and is having a hard time dealing with it. I didn't know it was based on a novel then, but the movie stuck with me. It was rich in irony, dripped in sarcasm and impeccably cast, with John Cusack as the record store owner, Jack Black as one of the two neurotic music-obsessive clerks working at his store, and Tim Robbins as the mysterious hippie his girlfriend defects to.

A few years later I ended up in a bookstore with High Fidelity staring me in the face. What had remained with me about the film included the deep love of music the protagonist has, and how it permeates everything he does. Jack Black and the other clerk in his store are laugh-out loud funny in how they try to out-obscure each other's music tastes. Being a bit of a music obsessive myself (just look at the number of posts I have tagged music), the idea of the book seemed interesting.

I, however, knew how the book ended. So I did the next best thing. I picked up another book by the same author with a more intriguing premise: 4 people end up on a London rooftop deciding to commit suicide on New Year's Eve, 2000 - the beginning of the New Millennium. What happens on the road taken - when they don't actually go through with it? (I have a morbid streak that is probably worthy of psychiatric attention. Death and its effects/after-effects as humor or literature fascinates me.)

A Long Way Down was a home run. I'd had a horrid time at a social do I felt  obligated to go to and I came back home feeling miserable because of some of the people I'd had to meet. I polished off the book in that one night - it was probably 4 AM by the time I slept. It wouldn't be the first time I did that with a Nick Hornby book.

Hornby's strength is, as one of the gushing blurbs on the back of High Fidelity says, is "The Male Confessional". Many of his novels are about a young man trying to figure out his way through life, responsibility and the onset of middle age. High Fidelity and About a Boy both follow this pattern and to an extent, one of the story arcs in A Long Way Down and How to be Good follow the same path for a married, middle-aged man.

However, what makes all his books shine is the generosity of spirit he expresses towards his characters. The character may be a complete goofball scared of commitment (like Rob in High Fidelity) or someone shallower than a tea saucer (Will in About a Boy), but Hornby manages to infuse them with warmth and uncharted depths. They aren't the way they are for no reason. Maybe life never really demanded they be responsible until the circumstances unfolding in the book asked more of them.

Then there are the pop-culture references. Hornby himself seems to be a music junkie and the numerous references and use of popular songs (and films, and sports) in his books as plot points play well enough if you are music literate, but can be to devastating effect if you are an obsessive. One such note played to poignant and hilarious effect is the death of Kurt Cobain in About a Boy.

In addition to the references to music and the warmth he displays towards his characters, what is likeable about his books is that all of them have satisfying endings. All his books have fairly dramatic arcs( attempted suicide, break-up, a husband finding religion), but the denouement tends to be not so. The story starts with a bang. Then the protagonists generally go through a lot of soul-searching with lonely drinking sessions and pizza dinners aplenty. It however ends quietly with everyone picking up the pieces and moving forward with cautious hope. Kind of life itself.

Jaane Tu...Ya Jaane Na

Films are made or unmade in the small moments. Jaane Tu...Ya Jaane Na has many of those small moments that make it memorable.

In Jiggy's birthday party, Jai says "Hum hamesha dost rahenge" and Shaleen crinkles her nose at Aditi - a knowing, shared confidence about Aditi's unrequited feelings. Then, after the party Jai's mother asks him "Us ka mangetar bhi tha?", Jai nods and she hugs him as he breaks down. Cool parents were everywhere in the film, but the tenderness in the relationship between Ratna Pathak-Shah and a fatherless Imran Khan was especially well-done.

The film reminded me of Dil Chahta Hai on many levels. A key aspect of what made it work for me was how real and contemporary the characters seemed. The friendships in DCH leapt out at you in terms of how realistic the interactions between Akash, Sameer and Sid seemed. Similarly the lives of the characters that Jai & co. live with the attendant wisecracking, easy camaraderie and tangled webs seemed lifted right out of the pages of St. Xavier's class of '08.

Worth noting: The film belongs to Abbas Tyrewala. Good direction, tight script, crisp dialog (very Bambaiyya without being clichéd) and quirky lyrics. He wins the award for the funniest ending for a standard romcom story. Imran Khan is believable and likeable, as is most of the supporting cast. The film uses Mumbai as a location more cleverly than any film in the recent past (Satya pops to mind). The title sequence is pure genius. The Khan brothers are an inspired piece of casting - it may be the most memorable film they end up acting in.

A R Rahman rules, hands down. He's copped a lot of flak for having a 'signature' sound. But here (it's been so increasingly in the past few years) the music suits the film to a T without him imposing any stylistic pressure. It sounds fresh, funky and fun with ARR's penchant for using new voices paying off rich dividends. Kabhi Kabhi Aditi, Tu Bolein...Main Boloon ( a very low-key ARR himself - great singing and jazz interludes) and Kahin To (personal favorite, Vasundhara Das is phenomenal) are lovely and Pappu Can't Dance! wins the award for party song of the year, with attendant cool dance move.

Not cool: Genelia was a bit of a weak link, but not weak enough to bring the story down. Very expressive eyes, but her diction didn't quite cut it. The flashback/flash-forward technique got annoying after a while. The script really had no loose ends and trying too hard to explain everything with the airport narrative was jarring.

And really, Tyrewala also takes the award for beating the Gujju stereotype to death with Jiggy. The accent was overdone and there are other lesser stereotypes ripe for harvest. After the horror that was Satish Shah in Kal Ho Na Ho, I'd cop the Gujjus a break and take on Punjabis  for a bit. With upcoming classics like Singh is Kinng, a bit of parody won't hurt their butter chicken-fattened egos.

To sum: Aamir Khan strikes again, in style.

A tale of two concert films - as close to musical heaven as a non-concert experience can get.

First, let's get the commonalities out of the way. The two bands - U2 and Rolling Stones come from across the pond - Ireland and Britain. Both have defied expectations in terms of how long a band is expected to last. In one case (the Stones), the key band members have unchanged for over 40 years. In the other , all members of the original line-up are still around after over 25 years. Even as age catches up with them, they are still vital, wowing audiences worldwide with their skill, craft, virtuosity and showmanship.

U2:3D plays on the near-myth status of U2 as one of the biggest rock acts in the world. Using latest digital technology, the dazzling visual feast that is a U2 concert is milked to the limits. Spare (there's no one on the dimly lit stage through the whole concert except the four band members) and grand ( huge video screens with dazzling visual effects) at the same time, the concert film too is akin to the religious experience that a U2 concert is purported to be.

Visually, it's stunning. The 3D effects that are used only for a few kicks in movies like the latest Harry Potter film are showcased to their full potential as Bono reaches out his hand and you high-five him in the middle of Vertigo. Vertigo does ensue as a camera on a lift zooms in on Larry Mullen Jr.'s drum calisthenics from behind him as the camera gives you stage access like you'd never dream.

Then there are the songs. Be it old staples like Sunday Bloody Sunday, Pride (In the Name of Love) and Where the Streets Have No Name or new favorites like Vertigo and Love and Peace (or Else), bombast isn't a term lost on the Irish quartet. I wouldn't tolerate this from any other band, but to paraphrase another superstar, they make this look good.

For a U2 junkie like me, it's manna from straight above.

Shine a Light is a complete contrast. While U2 has always been about changing the world and making a point, the Stones, it seems, are just out to have a good time. Musically inspired by the blues, they make being melancholy look like fun too. Brightly lit stages, red costumes for Mick Jagger and a whole retinue of backing instrumentalists all combine to make Shine a Light an absolute joy.

As Mick Jagger shimmies his way through classics like Brown Sugar, Miss You and does a twist with lesser known songs and covers of blues pieces, a different kind of genius shines through. The visual pace here too is frenetic with quick cuts from multiple cameras under the assured guidance of movie rock star Martin Scorsese. Old yet new, cocky yet respectful (of the blues) and sad yet happy only in the way blues (and ghazals) can be, the Stones show just why they are such a class act. 

As the encore winds down, they've also played a few radio and soundtrack staples including Start Me Up, (I Can't Get No) Satisfaction and that rocking ode to Lucifer, Sympathy for the Devil.

In the process, they win over a fan for life.

Random Musical Musings V

- Listening to The Essential Bruce Springsteen brought back a pleasant memory.

There was a Philips ad in the early 90s where the guy and the girl get stuck in an elevator and the light goes out. In a pre-AXE deodorant, more innocent Doordarshan world, our man switches on his boombox and they dance to... 'Dancing in the Dark'. Before I knew it was by Springsteen, I remember getting drawn by the hooksy melody of that song. 'can't start a fire without a spark..'

As I listen to it and other tracks on this fabulous 3-CD collection now, I understand why The Boss is known as such a great songwriter. Through blue-collar early Americana/Folk-inspired 'Jawsey* boy' all the way to mature, thoughtful middle age, he manages to convey so much through his songs.

- AG pointed me to someone singing Hallelujah on American Idol. It's triggered a major interest in the Jeff Buckley version of the song which this participant channeled. And why not. As a Buckley junkie, I'm not too unhappy.

- The Once soundtrack is full of romance, longing, genuinely heartfelt music and complete awesomeness. I haven't seen the film yet, but an unexpected gift (yo, AG - thanks!) lit up a miserable week highlighted by extra work, a cold and an unexpected allergic reaction.

Falling Slowly won the Oscar for Original Song this year. I liked it a lot, though I do wonder about the Academy's choice in songwriting at times. In addition to that track, there are other songs on the album which work really well including Fallen from the Sky, Trying to Pull Myself Away and If You Want Me. Many of the songs are spare acoustic pieces recounting all parts of being in love and breaking up. 

There's a certain Damien Rice vibe to the songs, especially because Marketa Irgalova's voice is so similar to  Lisa Hannigan's. The songs manage to hit all the right notes and I need to watch the movie now.

- Radiohead inspires shock, awe and rabid devotion among its sizable chunk of fans throughout the world. However, frontman-vocalist Thom Yorke's solo release 'The Eraser' showcases a completely different side to him. Retaining the ambient, ethereal sound of his band, Yorke explores electronica. Tracks And it rained all night and Harrowdown Hill shine, making for essential earphone listening on the bus.

*(that's Jersey for the rest of us. Springsteen's from New Jersey)

Previous takes on an abiding obsession - I, II, III and IV

Yeh tujhe kya ho gaya?

I ended up listening to Baadalon Se from Satya last week after a long while. That song somehow brought back a flood of memories - second year of engineering, watching Satya second time lucky after it was "housefull" the first time at Rahul, Ramanand's evocative post on the theatre, and so on.

What happened to RGV? Satya was in some ways a dream team - Vishal Bharadwaj on music, Gulzar on lyrics, Anurag Kashyap co-helming the script. A bravura performance by Manoj Bajpai, Saurabh Shukla and Shefali Chhaya as a strong supporting cast. And of course, Sandeep Chowta with that haunting background score.

I was and remain a big RGV fan. However, his quality of work since then never quite matched up. IMO, the peak of his work was Satya. Though Company, Jungle and Sarkar were satisfying movies to an extent, none of his later films as director matched up to the promise he showed in Rangeela and Satya. (though Kaun was definitely an interesting experiment) Other films he helmed as producer or had creative input in ( as part of his Factory), including Love Ke Liye Kucch Bhi Karega, Ek Hasina Thi were worthwhile efforts but again, there's this feeling of promise not quite fulfilled.

*I didn't dare watch RGV Ki Aag, and haven't seen Ab Tak Chhappan so I won't comment on those.

- On Friday it seems that there's less of a rush coming in to work at peak hour. Makes me wonder, where does the crazy Friday evening rush appear from? The roads are clogged from 3 PM to almost 8 PM and even later at times. Does TGIF mean people get to work early and leave at normal times, or maybe they come late and leave early/on time?

Maybe there's some secret factory that generates Friday-commuting drones that suddenly hit the road saying 'Thank God It's Friday!" Recycling them (or storing them till the following Friday) must be a massive job, since they disappear by Monday morning when things are back to normal.

- Ever wonder how almost all retail stores have women's sections on the first floor/street level (that's ground floor for Indians) while the men's section is hidden away upstairs or in the basement? Retail science has evolved so much. They've figured out that men have the homing instinct and will hit exactly the store and section they want, clearing out the minute they are done, missing most of everything on sale in the bargain.

Which is why 90% of shop window displays in these stores are devoted to women's apparel with a forlorn mannequin in the corner sporting menswear. The women's section is on the street level, guaranteeing temptation and instant gratification those who seek it most.

- I'm given to wonder why the most beautiful women play Lizzie in various versions of "Pride and Prejudice". Kiera Knightley plays her in the '05 version, while Aishwarya Rai plays her in Gurinder Chaddha's butter-chicken edition. Isn't she supposed to be less conventionally beautiful, but with more spunk than the dainty Jane? Looks apart, Knightley's characterization isn't completely off. But one has to wonder if it's a recent phenomenon. I'll have to check older versions to know.

- Day 4 of Perth is yet to be played, and I have a request of Anil Kumble. Please, please, when you need a breakthrough ( I know there's going to be enough of those pesky partnerships with the Aussies), can you toss the ball to Ganguly? On a swinging pitch, it's going to be interesting to see what he can muster. He's had a lackluster match with the bat and I'd count on his general form to give him an edge with the ball. I'd give him and Tendulkar a few overs here and there just to mix things up and see what happens.

Taare Zameen Par

Bachpan Ke Din Chaar
Na Aayenge Baar Baar
Jee Le Jee Le Mere Yaar
Jeb Khaali To Udhaar

Self-indulgent, visually creative and ultimately life-affirming, TZP emerges triumphant. The film can be accused of trying too hard. But it cannot be accused of not having heart.

Eschewing cliches of the visual, aural or histrionic variety, Aamir Khan in the director's chair unleashes a flawed but eminently likeable film. This is a smaller, more intimate film as compared to Lagaan (his debut as producer). Which only goes to prove that all the best storytellers need is a good yarn to spin.

Notes on the dismal fall of a franchise aka Third time definitely unlucky

- MJ is back in red (love that, for the record) ! Why did she go to blonde hair in Spidey 2?

- Peter Parker is a nerd. Making him wear kajal, doing up his hair Goth-style, dressing him in black and making him jive doesn't make him any less nerdy. Maybe Tobey Maguire's the problem. Cheesiness abounds as baaaad man Parker is more laughable than cool. 

- Stan Lee makes a cameo in the film.

- I noticed that Peter Parker's landlord's name is Mr. Ditkovitch. Was that a tribute to Steve Ditko? hmm...

- The amnesiac Harry Osborn is a much more likeable character than a dopey Peter Parker. But then, the Goblin's snarling kills any sympathy you ever had for him.

- Did Sam Raimi just get a DVD set of '70s Amitabh blockbusters over Christmas that he decided to rehash? How bad can the ending get?

 If this is what happens to good comic book franchises even with directors unchanged, I hate to think of what the future holds.

The Dark Knight? (It's Christopher Nolan, so maybe there's hope...)

More Superman badness. (Superman Returns was Bryan Singer. Go figure.)

*shudder*  more Fantastic Four?

Much Gaiman this way comes...

While the world has been going ga-ga over Harry Potter's latest, I'm slightly cold to it all. Yes, I love the books, and will eventually get my grubby hands on a copy that someone else pre-ordered (I've read all of the first six, either borrowed or through the library), but what has me really excited right now is the amount of new material Neil Gaiman has in the works.

Neil Gaiman is exceptionally prolific and he has new material being published all the time. I use the term 'material' here loosely, since Gaiman writes novels, short stories, comic books, graphic novels and poems. He has film scripts and even translations in his repertoire - he translated Japanese master Hayao Miyazaki's Princess Mononoke into English.

Even by those standards, this year promises to be a bonanza for interested parties. As this article here states, there's a novel Interworld out on the 26th of June. There's also a collection of child-friendly poems and short fiction M is for Magic releasing on the same day. 

Add to that a film based on Stardust, an absolutely magical fantasy fairy-tale that hits the marquee in August, and the fact that my favorite Gaiman short story (written as a comic book series) Death: the High Cost of Living is being made into a film directed by the man himself, and you can see why I'm all worked up.

There's a production of Coraline in the works and other projects that his name is associated with. Strange fount of fable and myth that the man is, I anticipate much enjoyment.

 (via Slashdot)