Naal (The Umbilical Cord)

Director Sudhakar Reddy’s vision of a Maharashtrian village is quite rooted in terms of it’s relatability. Indeed I was quite unsure of which outdoor games they were playing with sticks and stones (it wasn’t gilli-danda). The film introduces us to the lightness, tenderness of a winged pollen seed as it unintentionally flies away towards Chaitya (Shrinivas Pokale). The feature then progresses towards Chaitya’s daily activities, through the song Jau De Na Va. The song here very much goes literally together with the narrative. Be it him eating the guavas inside the tom-tom, putting water on clay models, or persuading his mother to let him play - the overall music here plays quite like a visual-poetry.

The feature involves camera focus changes in abundance. However, there are moments where it could’ve provided a view of the whole scenario. The visual effects of the calf lacked the touch and texture as to what the characters and with them, we audiences would’ve felt with that of it’s live-action mother buffalo. However, it could perhaps be passed off, since the buffalo and it’s calf sometimes symbolizes Chaitya and his mother’s relationship. A resurgent arrival of the calf goes hand in hand with Chaitya’s renewed respect for his mother.

Sometimes, it’s difficult to know what a young child might be thinking onto. Even as Chaitya forges several tricks for his family members which leads to regretful consequences, we audiences still overlook it and follow this child’s sheer innocence across. Naal emphasizes this.

Check the trailer of Naal here.

Ti Ani Itar (She & the others)

Director Govind Nihalani's Marathi-Hindi bilingual seems to be filmed like that of a play. Godbole family’s house, which is almost where the whole narrative takes place, looks very much new. As if the furniture was made yesterday itself. Plus, a home involving two young kids, it’s quite unlikely that it could be this spick and span throughout. Here’s where a realistic approach does not pass off; in an otherwise relevant and mainly strong premise - where morality is pitted against fear when the family purposely turn a blind eye to a dreadful crime of physical assault in the adjacent apartment building.

A scene which felt well-directed was when everyone has arrived at the dinner table after a frightful revelation. As Anirudh Godbole (Subodh Bhave) dedicatedly serves the dinner to others, Naina Godbole (Sonali Kulkarni) does the same, with much anxiety. Amruta Subhash’s journalist-character still seems unconvinced, while others partially give in to celebrate the moment of Naina’s new album release. There is a visible certain pressure, amidst this dinner.

Ti Ani Itar consists of a single song, Badal Jo, sung pleasingly by Aditi Paul & Ankita Joshi. With lyrics by Sachin Shafaq, who actually plays himself, in a cameo, giving advice to Naina for her musical debut. The scene goes on, to him explaining the meaning of his pen name shafaq - the redness that appears in the sky before the sun comes up and while it goes down - twilight. Although quite informative, it seemed like a promotional vehicle for perhaps, his side-profession as a ghazal artist.

During the end, when a key telephonic conversation takes place, a person, on the other hand, is talking on the phone with Naina but ends it by addressing the lady as well as Anirudh. How is he able to know that Anirudh is also hearing the conversation? Although this would be a minute continuity error I noticed.

Little Buddha [Blu-ray]

Italian director Bernardo Bertolucci’s English-language feature is about the prince Siddhartha of ancient India, which goes parallel to the narrative of the search for a Buddhist monk’s reincarnation in the metropolis of Seattle. The story might seem improbable at several points. Well, as Lama Norbu’s (Ying Ruocheng) determination to search remains intact, I gradually got hooked onto his and young Jesse’s (Alex Wiesendanger) journey. Prince Siddhartha’s life is narrated parallelly, while Jesse reads an illustrated book called The Little Buddha, gifted to him by Lama Norbu.

Prince Siddhartha realizes that enlightenment could come from choosing the Middle Path, between the extreme renouncement of everything and a slight meditative mind. That could be having a bowl of rice along with a stranger at the banks of a river, as Prince Siddhartha, after having this self-realization, tries to convince the other supposedly sages, in the film.

Keanu Reeves is mainly unrecognizable as the young prince Siddhartha, with ignorance to adore to and eventually enlightenment to ponder upon. Supported with a pleasing background score which likely highlights an ancient Indian atmosphere.

A Viszis (The Whiskey Bandit)

Director Nimrod Antal’s Hungarian-language feature includes stylish editing and occasionally action-packed sequences. Based on a true story, mainly between the late ’90s, Attila Ambrus (Bence Szalay) robbed banks, while usually leaving behind an empty whiskey bottle. Thus, the titular name, The Whiskey Bandit. I’m still not sure why he specifically kept a whiskey bottle. Indeed, as shown, he was inspired in doing this, at a bar, while hearing a television anchor-woman reporting and ‘glorifying’ his heists (a misdeed to which the media is sometimes chastised to, till date). The makers could’ve emphasised more on explaining about this style of Ambrus.

Perhaps some of the characters who had less screen-time seemed to be conversing in deadpan expressions. Kata’s (played by the attractive Piroska Moga) parents, especially her father, dejected him quickly, with a reason for him not having a stable job or money. The scene also felt quite generic and seems to be approached just as an archetypal stock scene to progress the narrative. Although it was supposedly a key plot-point for the further events to unfold. When Ambrus goes to the passport office, an attendant there delivers his dialogue-heavy act, although with desired escalated pace, but in a noticeable blank look. The same scene then match-cuts to another, when Ambrus is disruptively ambushed by a stranger. Which then leads to him being thrown at an ice-hockey arena. Who was this stranger, why did he pushed away Ambrus – we never get to know. There was a fine use of an editing technique here, but it felt gimmicky.

The Whiskey Bandit’s several action scenes unfold during the second half. For instance, Ambrus has just started driving a scooter and is suddenly crashed by an unknown car. While him also being in the process of being chased by a well-built man on a Bullet motorcycle. The scene was quite unexpected and for a while, had me in an adrenaline blow.

T'Challa's quest

Ryan Coogler’s adapted vision this time is of an advanced, standalone world. Even if you haven’t followed the Cinematic Universe of Marvel much closely (except Civil War), you still may not have much trouble in delving deeper into the mystical place of Wakanda. I think that’s what makes Blank Panther, somewhat unique.

A much relatable instance(s) seems that of T’Challa (the Blank Panther) and her sister. Whenever a formal gathering is over, no officials are around - this pair of siblings will burst-upon their casual conversations, tease each other by some wise-cracking jokes, but will never forget to look upon each other’s backs – more of which I would really like to see in the future instalments.

Black Panther subliminally discusses the conflict of two ideologies. One, who wants to share to the world, other, who stood back on the sharing, likely due to his family’s customs. No one is perfect on his decisions, not even the king, here. But, a king’s wrongful decisions may not necessarily define another’s future. Because it is we, only we, who can alter our fore comings. Although what is the ‘sharing’ the two ideologies have turned their backs against each other, forms the crux of the narrative. And we follow our king T’Challa, on his quest.

Black Panther had its several moments of humour too, mainly the one which I, have roughly termed the ‘vegetarian joke’, which made me amused in laughter for a good couple of seconds. For what it actually is, you’ll likely have to see the feature. Those who’ve already might have got a sheer clue of what I’m talking about.


I urge to not leave the movie until the end credits are over, for another scene of a key character from the Marvel Cinematic (hint: he featured in Civil War too).

'Challenges' in Indian cinema theatres

Whenever I usually go to a cinema hall, there are certain characteristics which not only me but you also, may have witnessed. Although they may not be considered as troublesome in many ways, it certainly might be a somewhat hindrance to a cinema experience.

Image source: indianexpress.com article

- Intermission in international screenings: Imagine a gripping chase-sequence taking place and suddenly the big screen blacks out due to a forced interval. Though many cinemas mention that the intermissions are strategically put for audience's convenience, it doesn't work so (most international movies including Hollywood ones doesn't have any interruptions). The interruptions are simply done so as to continue with the interval breaks which Indian audiences are supposed to be accustomed with.

- National anthem: Following a patriotic protocol seems alright, but, using cinema theaters as a medium for it doesn't seem a worthy idea. One is trying to be comfortable on his seat. However, he will then have to quickly stand up still so as for the national anthem. Irrespective of the following cinema exhibition being that for the country, or of patriotic nature. While some might still be searching for their seats.
Although some amendments have taken place - hindustantimes.com - 'after SC order, playing national anthem in Maharashtra cinema halls not mandatory'

- Anti-smoking advertisements and messages: Showing a disclaimer throughout when a smoking scene occurs - I'm rather skeptical if it's effective; though it could be. Plus, showing the anti-smoking advertisements twice, that too, in the beginning and sometimes before the intermission ends. That too, in English as well as in Hindi, roughly takes the count to 5 or 6. Which seems majorly excessive and unwanted. There could be several spots given for advertising and public interest visuals on television and the internet. They are a suitable platform to showcase these message.

Here are some news articles describing filmmakers' non-positive approach for the same: ‎hollywoodreporter.com - 'Woody Allen cancels Blue Jasmine..'
news18.com - 'Anurag Kashyap takes a dig at smoking warnings in Darkest Hour'

It likely seems that the government uses cinema for promoting it's policies and causes; though mainly for public welfare itself.

- High-priced food items: This might not be just a challenge faced by people who go to Indian cinemas, but in other countries too. Nachos, pop-corns et al are priced at double the rates of one's actual movie ticket. This seems exorbitant and unfair.
Here's a news article which discusses the similar issue - mumbaimirror.indiatimes.com - 'Pop-Con'



Would like to know your views or perspective, in the comment section below.

‘Welcome to the Jungle’

"A game for those who seek to find, a way to leave their world behind."

By seeing Jumanji: Welcome to the Jungle, one comes to know that the adventure here is moreover, surprisingly, a coming-of-age narrative. Our protagonists here are (well, firstly) in their young age, each of them imbibing different persona traits, rather different from each other; kind of personalities we sometimes meet during our own secondary school and college years.

And speaking of characters, the ensemble here have perfomed an admiring work, in fact, a challenging one I would say, where the characters are usually witnessed to be psychologically different from their physical characteristics. To add more though, Fridge as "Moose" (played by Kevin Hart) seemed much favourable to me, thanks to in terms of the sheer comic-timing which flows whenever the character comes up. And alongwith Bethany as "Professor Shelly" (played by Jack Black), the narrative humour is likely an icing on the cake.

Several conversations between the characters on each of their behaviours, highlights an introspect on the 'real' lives, which feels relevant. Like, when Professor Shelly informs "Ruby", "But do you think that maybe the reason why you are so judgy - is because you are like afraid that people are not gonna like you, so you've decided not to like them first?''

Gradually, we see our characters grow, which parallels with their actual ages of transition..

Which character would you, dear reader, choose to be? Or, as Spencer says just before he unexpectedly enters, "I don't think it matters that much.."
(image source: YouTube)

Click the link to check out Welcome to the Jungle trailer..