Tag Archives: 2010

Movie Review: Khelein Hum Jee Jaan Sey (2010)

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3.5 Stars (out of 4)

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Sixty-three years after the end of the British Raj, it’s clear that the Brits were in the wrong in their oppression and exploitation of South Asians. At the time, however, both sides — the oppressors and the oppressed — felt victimized when they were on the receiving end of a violent attack. One person’s terrorist is another’s freedom fighter.

Oscar-nominated director Ashutosh Gowariker’s latest, Khelein Hum Jee Jaan Sey, tells the story of one act of rebellion during the Raj: the Chittagong Uprising of 1930.

At the time the movie takes place, groups of freedom fighters, impatient with the slow progress of Ghandhi’s passive resistance, opt for violence as a means of ousting the British from India. In Chittagong, the local resistance group is led by Surjya Sen (Abhishek Bachchan), a schoolteacher who uses his meager salary to organize a small group of fighters.

Surjya is able to expand his plans to drive the Brits from Chittagong when a simple act brings a large group of new recruits his way: the army takes over the local soccer field to use as a camp. The town’s teenagers, outraged at being evicted from their pitch, ask for Surjya’s help in reclaiming it.

Surjya hatches a plan to simultaneously take over strategic points in town, including the telegraph office, the armory and army barracks. He’s aided by two female recruits, Kalpana (Deepika Padukone) and Pritilata (Vishakha Singh), who engage in reconnaissance by posing as maids.

Before the plan can be executed, Surjya must train his army of gangly teens. Though the boys are committed to the cause, they’re still kids and not eager to martyr themselves. As one boy observes, what good is freedom if you’re not alive to enjoy it? The first half of the movie covers the group’s preparations, and the second deals with the raid and its aftermath. (Given that the British didn’t leave India until seventeen years later, I suspected the raid wouldn’t be a complete success.)

Stills at the beginning of the movie state that the plot is taken directly from written accounts of people involved in the Chittagong Uprising. Gowariker chooses realism over big-screen clichés in his portrayal of the moving story. Characters act like real young people faced with mortal danger for the first times in their lives would: scared and confused instead of fearlessly self-assured. The absence of timely motivational speeches is refreshing.

That realism makes the movie engaging and the story of their rebellion that much more inspiring. A lifetime spent watching movies with happy endings makes you believe that maybe these plucky kids really can drive out their oppressors and go back to playing soccer. But, from our experience with the characters, we know that isn’t possible, even if the teens think it is.

The performances are solid throughout. Bachchan, Padukone and the other adult characters are riveting, as they begin to realize how they’ve endangered the teens in their care. The teens are endearing, both awkward and noble as they muster up all the courage they’ve amassed in their limited amount of life experience. The soundtrack is catchy, yet appropriate for the somber story.

I just finished reading the book Three Cups of Tea, about one American’s attempts to build schools in Pakistan and Afghanistan. In it, he recounts a story of American military helicopters flying low over an open air girls’ school, the resulting wake knocking over and breaking the school’s only blackboard.

Civilian casualties and night raids on houses get all of the publicity, but we can never know what small act — like taking over a soccer field or, perhaps, destroying a blackboard — might be the final straw that pushes a young person to violence. I wonder how our own treatment of the civilians under our care will be viewed 63 years after we leave Afghanistan.

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Opening November 24: Break Ke Baad

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Give thanks for the Thanksgiving holiday. It’s the reason why America gets Break Ke Baad (“After the Break”) two days before the rest of the world. The romantic comedy stars Deepika Padukone and Imran Khan as a pair of childhood sweethearts struggling to make their relationship work as adults.

Break Ke Baad opens on Wednesday, November 24, 2010 at the AMC Loews Pipers Alley 4 in Chicago, Big Cinemas Golf Glen 5 in Niles, AMC South Barrington 30 in South Barrington and Regal Cantera Stadium 30 in Warrenville. Click here for a nationwide theater list. The movie’s runtime is listed as two hours.

The wonderful drama Guzaarish continues through the holiday weekend at the Pipers Alley 4, Golf Glen 5, South Barrington 30 and Cantera 30, having earned $488,121 in its opening weekend in U.S. theaters. The Golf Glen 5 is also carrying over Golmaal 3, which has earned $1,132,192 in the U.S. so far.

Other Indian movies playing in the Chicago area over the Thanksgiving holiday include Chekavar (Malayalam), Karma: Do You Believe (Telugu), Orange (Telugu) and Tere Ishq Nachaya (Punjabi) at the Golf Glen 5. Sathyam Cinemas in Downers Grove is carrying Orange and Enthiran (Tamil and Telugu versions).

Movie Review: Guzaarish (2010)

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3.5 Stars (out of 4)

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Despite knowing in advance that Guzaarish (“Request”) is a story about a paralyzed man trying to end his life, I wasn’t prepared for the emotional walloping the movie administered.

Guzaarish is heartbreaking without being manipulative. The characters occupy various positions on the ethical spectrum. In a movie about empathizing with someone else’s decision even if you disagree with it, it’s easy to identify with all of the characters and find their motives believable.

Guzaarish opens with a montage set to the song “Smile” (popularized by Nat King Cole), showcasing the details of Ethan Mascarenas’ (Hrithik Roshan) daily life. Ethan is paralyzed below the neck as a result of an accident fourteen years ago, and his days now consist of being washed, dressed and fed by his nurse, Sofia (Aishwarya Rai Bachchan). Unable to use his hands to shoo away a fly that lands on his face, Ethan does as the song suggests and smiles.

In addition to being permanently immobilized, Ethan’s organs are shutting down. His diminishing lung function causes him to gasp for breath between sentences. Ethan asks his best friend and lawyer, Devyani (Shernaz Patel), to file a petition asking the court to allow him to commit suicide.

Everyone opposes the idea: the doctor who saved his life after the accident; Sofia, who’s cared for him every day since; his friend, Devyani; listeners to the radio show Ethan broadcasts from his bedroom; his new apprentice, Omar (Aditya Roy Kapoor), to whom Ethan passes on secrets from his days as one of the world’s top magicians. The court rejects his initial appeal, but Ethan is determined to take control of his own destiny.

The movie is not just about Ethan’s struggle, but how his decision affects those around him. One of the most powerful scenes takes place between Sofia and Devyani. After Sofia blames Devyani for enabling Ethan’s suicide pursual, Devyani reminds Sofia that she didn’t know him before the accident and can’t understand the life he lost. Devyani repeatedly walks toward the door, only to return with one last point in defense of her friend.

Guzaarish isn’t all tearjerking melodrama. Ethan copes with his disability through a mix of gallows humor and randy flirtation, begging straight-laced Sofia to show him the “sexy legs” he knows are under her floor-length skirts. When Sofia finally cuts loose and dances one night, it takes Ethan completely by surprise.

Director Sanjay Leela Bhansali adds details like Sofia’s long skirts to play up the Portuguese influence in Goa, where Guzaarish is set. Ethan’s beautiful but dilapidated mansion is also built and decorated in Goan-Portuguese style.

Guzaarish‘s arresting visual style keeps with Bhansali’s once-opulent, now-lonely aesthetic. The mansion’s blue color-scheme is similar to the super-saturated colors the director used in Saawariya, and the expansiveness of Ethan’s home is reminiscent of interiors in Devdas and Black. Regardless of subject matter, Bhansali’s movies are gorgeous to look at.

The director also has a flair for highlighting Aishwarya Rai Bachchan’s otherworldly beauty. With her pale skin and dark hair accented by bright red lipstick, there are moments in close-up where she looks more like a painting than a real person.

The few scenes in Guzaarish that don’t work are unnecessary side stories that are mercifully short. Characters — such as Ethan’s former assistant and his one-time rival — are introduced late in the movie without any previous mention and don’t have a role in the story apart from a brief flashback. Their interludes do nothing to advance the plot or reveal more about Ethan’s character.

Those distractions aside, Guzaarish‘s compelling story and breathtaking visuals make it a definite must-see.

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Opening November 19: Guzaarish and Today’s Special

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Friday, November 19, 2010, sees the opening of the Hindi movie Guzaarish and Today’s Special, an English-language movie that may interest Bollywood fans. Guzaarish (“Request”) stars Hrithik Roshan as a quadriplegic former magician and Aishwarya Rai Bachchan as his nurse.

Guzaarish opens on Friday at the AMC Loews Pipers Alley 4 in Chicago, Big Cinemas Golf Glen 5 in Niles, AMC South Barrington 30 in South Barrington and Regal Cantera Stadium 30 in Warrenville. It has a listed runtime of 2 hrs. 15 min.

Also opening this weekend is Today’s Special, which stars Daily Show correspondent Aasif Mandvi as a chef forced to take over his family’s Indian restaurant. The movie is based on a play written by Mandvi and features Bollywood legend Naseeruddin Shah.

Today’s Special opens on Friday at the South Barrington 30 and Cantera 30. Check the movie’s official website for nationwide showtimes. It has a listed runtime of 1 hr. 39 min.

Besides Guzaarish, two other Hindi movies continue their runs in Chicago area theaters. Golmaal 3 gets a third week at the Pipers Alley 4, Golf Glen 5 and South Barrington 30. Action Replayy also gets a third week at the South Barrington 30.

Other Indian movies showing around Chicago this weekend include the Telugu movies Kathi and Yemaindia Eevela at the Golf Glen 5.

Movie Review: Udaan (2010)

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4 Stars (out of 4)

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A character in Udaan (“Flight”) says that fathers always want their sons to grow into men just like themselves. When the father is an abusive alcoholic, he’d better hope his wish doesn’t come true. Someday, his son will be bigger and stronger than him.

The father in Udaan (played menacingly by Ronit Roy) is about as mean as a character can be without veering into cackling super-villain territory. He doesn’t have any grand evil plan; he’s just convinced that he’s right and that everyone should obey him. He forces his children to call him “Sir,” correcting them when they accidentally call him “Papa.”

Udaan‘s protagonist is Sir’s 17-year-old son, Rohan (Rajat Barmecha). He’s a smart kid and a gifted writer, but a poor student. He takes reckless chances despite knowing the consequences. He’s expelled from boarding school when he and three friends sneak off campus to watch dirty movies. His friends return to their wealthy families in Mumbai, while Rohan returns to the industrial town Jamshedpur and the father he hasn’t seen in the eight years since Rohan’s mother’s death.

Rohan finds a six-year-old boy living in his childhood bedroom, the product of a second marriage that his father said “didn’t work out” and that he didn’t bother to tell Rohan about. The half-brother, Arjun (the impossibly cute Aayan Boradia), already mimics their father’s verbal abuse but casually mentions that Sir hits him sometimes.

Sir refuses to entertain the possibility of Rohan becoming a professional writer and puts his eldest son to work in the factory he owns. Rohan attends engineering college in the afternoon, with the expectation that he will one day inherit the factory. At night, Rohan acts out, taking the family car on joyrides to drink and smoke at a local bar.

Rohan is shaken from his drudgery when Arjun winds up in the hospital. Sir claims the boy fell down the stairs, but Rohan suspects child abuse. Sir leaves town for a few days, giving the brothers time to bond. Rohan entertains Arjun and other people in the hospital ward with his original stories until his father returns, once again crushing his Rohan’s chances for happiness.

Udaan is the rare movie that actually justifies a runtime of more than two hours. The plot unfolds at a pace appropriate for its teen protagonist. He’s in an impossible situation: he can’t live his own life under his father’s rule, but he has no adult to turn to for guidance. His uncle, while compassionate, is himself subject to Sir’s abuse. When I wanted to scream, “Just run away!” I had to remind myself that Rohan is supposed to be a real teenager, not some cinematic creation wise beyond his years.

The movie also strives for realism in the relationship between father and son. A lesser movie would aim for a sentimental conclusion espousing the belief that there’s good inside everyone. Sir is a jerk, and Rohan himself is far from perfect. The movie is more about protecting what you love, be it a dream or a vulnerable sibling. Udaan isn’t about redemption. It’s about self-respect.

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In Theaters November 12, 2010

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There are no new Hindi movies releasing in Chicago area theaters this weekend, and only two older releases claim any screenspace. Last weekend’s new releases — Action Replayy and Golmaal 3 — continue their runs at the AMC Loews Pipers Alley 4 in Chicago, Big Cinemas Golf Glen 5 in Niles, AMC South Barrington 30 in South Barrington and Regal Cantera Stadium 30 in Warrenville. Golmaal 3 earned $626,432 in its opening weekend in U.S. theaters.

Other Indian movies playing in the area this weekend include Mynaa (Tamil), Va Quarter Cutting (Tamil), Anwar (Malayalam), Kathi (Telugu) and Yemaindia Eevela (Telugu) at the Golf Glen 5. Sathyam Cinemas in Downers Grove has Enthiran (Tamil) and its Telugu-dubbed version, Robo.

Movie Review: Action Replayy (2010)

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1.5 Stars (out of 4)

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Look at the Action Replayy poster to the left. Bright colors and cheesy grins on the stars’ faces promise an all-out 1970s spectacle. The movie itself, however, is a half-baked, sloppy attempt at a romantic comedy that squanders its resources.

None of Action Replayy‘s shortcomings have anything to do with its stars, Aishwarya Rai Bachchan and Akshay Kumar. They make the most out of the material they were given. Bachchan is beautiful and effortless, and Kumar is equally charming.

The problems stem primarily from the movie’s underwhelming lead character, Bunty (Aditya Roy Kapoor): a young man of indeterminate age who is simultaneously bland and obnoxious. His girlfriend, Tanya (Sudeepa Singh), is desperate to marry him. Bunty refuses because he doesn’t believe in marriage, thanks to the poor example set by his unhappy parents, Mala (Bachchan) and Kishen (Kumar).

Conveniently, Tanya’s scientist grandpa has a time machine. Bunty hops in, sets the dial for 1975, and presses the giant red button Tanya’s grandpa explicitly tells him not to press. He travels back in time and sets off in search of his still unmarried parents, hoping to make them fall in love before they are arranged to be married.

First, Bunty finds the younger version of Tanya’s grandpa and shows him the time machine. He says, in essence, “You built this in the future, and I broke it. Now fix it” — as if gramps can learn in a matter of days what took him 35 years to learn.

Bunty finds his parents’ younger selves and sets about trying to make them fall in love. Kishen is a timid dweeb, as indicated by the appallingly fake-looking set of buck teeth Kumar is forced to wear. Mala is both a local beauty and a thug. The first half of the movie is spent showing why they hate each other. Not until the second half does Bunty begin to turn Kishen into a confident stud and Mala into a demure lady. He accomplishes this by shouting at them.

The most confusing aspect of the movie is why no one in the seventies has any questions for Bunty: Who are you? How do you know so much about us? Why are you wearing such unusual clothing, like that t-shirt with a picture of Yoda on it, even though Star Wars doesn’t exist yet? Why do you keep calling us “Dad” and “Mom”?!

This particular time-travel premise worked fine in Back to the Future, but Action Replayy doesn’t seem to understand why it worked. There’s never any threat to Bunty, the way there was to Marty McFly, who needed to get his parents together before he faded from existence. Bunty has unlimited time to get make his parents fall in love. If he fails, they’ll still be together — if unhappy — and he’ll still be born.

Action Replayy also sidesteps one of the most interesting aspects of Back to the Future, in which the teenage version of Marty’s mother develops a crush on him. Instead, Mala’s lifelong friend, Mona (Neha Dhupia), smiles at Bunty a few times before asking him late in the movie, “Do you love me?” Given that the Bunty doesn’t interact with Mona at all before this, his answer is obviously “No.”

If the movie was interested in having any real emotional impact, Bunty would’ve gotten to know his grandparents, who died either before he was born or when he was very young. Instead, he makes jokes about which of them will die first. That he has no interest in them is indicative of Bunty’s shallow character and the movie’s lack of emotional understanding.

The fact that accomplished actors like Om Puri and Kirron Kher (who play Grandpa and Grandma, respectively) weren’t given more to do is just another example of how Action Replayy fails to fully utilize the considerable resources at its disposal. It’s instead content to be a tepid romantic comedy with flashy period costumes.

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Opening November 5: Action Replayy, Golmaal 3 and Bombay Summer

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Two new Hindi movies and another older release debut in the Chicago area on Friday, November 5, 2010. The flashy romantic comedy Action Replayy (the extra “y” distinguishes it from “Action Replay,” the Gujarati play on which it’s based) stars Aishwarya Rai Bachchan and Akshay Kumar as a couple living in an unhappy arranged marriage until their adult son travels back to the 1970s to make them fall in love.

Action Replayy opens on Friday at the AMC Loews Pipers Alley 4 in Chicago, Big Cinemas Golf Glen 5 in Niles, AMC South Barrington 30 in South Barrington and Regal Cantera Stadium 30 in Warrenville. The national theater list includes three other Illinois theaters. The movie has a runtime of 1 hr. 40 min.

This Diwali weekend’s other major release reunites most of the cast of Golmaal Returns for Golmaal 3, a sequel about a bickering family. I named Golmaal Returns my Worst Bollywood Film of 2008, and it remains one of the most annoying movies I’ve ever seen. Needless to say, I have low expectations for Golmaal 3.

Golmaal 3 opens in the Chicago area at the same theaters carrying Action Replayy: Pipers Alley 4, Golf Glen 5, South Barrington 30 and Cantera 30. Its runtime is listed as 2 hr. 35 min.

On Friday, the Golf Glen 5 also debuts Bombay Summer, an independent Hindi movie that’s been on the festival circuit for a while.

Other Indian movies showing in the Chicago area this weekend include Enthiran at the Cantera 30; Rakht Charitra (Telugu), Mynaa (Tamil), Uthama Puthiran (Tamil) and Va Quarter Cutting (Tamil) at the Golf Glen 5; and Brindaavanam (Telugu), Robo (Telugu) and Maleyali Jotheyali (Kannada) at Sathyam Cinemas in Downers Grove.

Movie Review: Aakrosh (2010)

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3.5 Stars (out of 4)

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When watching a Hindi movie, I often consider whether someone who has never seen a Bollywood movie before would enjoy it. To someone who likes romances, I’d recommend Love Aaj Kal; for a fan of family-friendly sports movies, I’d suggest Chak De India. But I think Aakrosh might have the widest appeal to American filmgoers (adults only, as there is some graphic violence).

Aakrosh‘s biggest selling point is its construction. It’s a well-paced thriller in which the lead characters — who truly grow over the course of the film — are placed in a difficult situation that becomes terrifying as the story progresses. The familiar format accommodates a few musical numbers that identify Aakrosh as distinctly Indian, though they do make the movie a tad long.

What adds to Aakrosh‘s appeal is that it deals with a topic unfamiliar to many Americans: honor killings. When honor killings make the news in the United States, they typically involve a young woman murdered by her own family for an act perceived as shameful. Aakrosh presents another side of the practice, in which suitors are killed in order to force a young woman into a political marriage approved by her family.

The story’s heroes are Siddhant (Akshaye Khanna) and Pratap (Ajay Devgan), two investigators sent to learn the whereabouts of three Delhi medical students who disappeared from a village two months earlier. Siddhant, also from Delhi, is the lead investigator who assumes this case will proceed as smoothly as his previous cases have. Pratap knows from having grown up in the area that Siddhant’s rule-of-law methods won’t work in Jhanjhar.

There’s a corrupt local system of governance built on the caste system that exists, despite Delhi edicts declaring castes obsolete. The police, politicians and business owners conspire to keep lower-caste, working-class villagers on the fringes of society. Those who aspire to rise above their station frequently disappear. When Siddhant asks the villagers how it’s possible that no one saw the three students, an old man replies, “We are alive because we are blind.”

Pratap is all too familiar with the caste-based politics that separated him from his former flame, Geeta (Bipasha Basu), many years earlier. Geeta is now married to the corrupt and uncooperative police chief, played with sleazy aplomb by Paresh Rawal. Unhappy Geeta knows better than to let her violent husband see her talking to the feds.

Siddhant and Pratap finally get a break in the case through sheer luck, since no one will help them. Their lives become more imperiled as they get closer to the truth about the missing young men. Siddhant is slow to admit that his by-the-book approach won’t work, and that Pratap’s method of hardball may be the only way to get justice.

The atmosphere in Aakrosh is intense. Siddhant and Pratap are surrounded by enemies, always under surveillance. Even those who aren’t their enemies won’t risk their lives for two outsiders, giving the movie a feeling that’s simultaneously lonely and claustrophobic.

Action scenes are refreshingly low-tech, relying more on parkour-style chases and fistfights than CGI special effects. The absence of cell phones and high-tech weaponry is appropriate for the remote setting. We’ve grown so accustomed to seeing slick gunmen in movies that a machete-wielding mob somehow seems much scarier.

Aakrosh, while both modern and foreign, will feel familiar to fans of old Hollywood thrillers. Siddhant’s feeling of futility in the face of a corrupt social order will appeal to fans of the TV series The Wire. It’s also a good chance to catch lovely Bipasha Basu before she makes her Hollywood debut in Roland Joffé’s Singularity next year.

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Movie Review: Walkaway (2010)

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3 Stars (out of 4)

Walkaway — an independent American film (primarily in English, but with some Tamil and French dialogue) — is an enjoyable exploration of marriage through the relationships of four Indian-American men. Apparently, the meddling mother-in-law stereotype is an international one.

While Walkaway is marketed as a “South-Asian male version of Sex and the City,” the friendship between the four male leads only holds the plot together; the movie is really about the men’s romantic relationships. The female characters get as much screentime as the men and get most of the best dialogue. The four relationships are between:

  • Soham & Nidhi — a couple struggling to connect, two years into their arranged marriage
  • Shridhar & Genevieve — an engaged couple trying to integrate Genevieve’s French family into Shridhar’s Tamil Brahmin family
  • Vinay & Sia — a newly-dating pair set up by their parents in India
  • Darius & Anu — roommates of Vinay & Sia having a casual fling

The story’s timeline follows Vinay & Sia’s relationship, from both of them debating whether to go through with their arranged blind date, through budding romance, to their eventual engagement. The wedding preparations cause headaches that are old news to Soham & Nidhi and Shridhar & Genevieve.

Soham & Nidhi are more like roommates, due to an awkward start to their marriage. Soham’s mother doesn’t hide her disdain for Nidhi, and Soham doesn’t defend his wife against his mother’s abuse. Nidhi summarizes her unhappy life in one line: “There’s a reason why fairy tales always end with the wedding.”

As Shridhar & Genevieve’s wedding date approaches, Shridhar’s mother’s gets more demanding. Having already agreed to a mostly traditional Tamil Brahmin wedding involving certain ceremonies her family isn’t thrilled about, Genevieve puts her foot down when Shridhar’s mother insists on a particular ritual that Genevieve finds demeaning.

I’m not clear on all the details of the ritual (one of Walkaway‘s faults is that it doesn’t explain certain cultural traditions clearly enough for those outside the tradition), but it’s supposed to save Shridhar from the bad luck evidently present in Genevieve’s horoscope. Genevieve shrewdly observes that the ritual itself isn’t the problem, it’s the superstition behind it. Even if she participates in the ritual, she’s been identified as cursed, and any future problems for the couple will be her fault, at least in the eyes of Shridhar’s mother (and possibly in Shridhar’s eyes, too).

The trouble in all of the relationships — apart from that of Darius & Anu, who aren’t serious about one another and, consequently, seem the happiest — is that the men won’t stand up to their overbearing mothers. It’s a challenge that should be made easier by the fact that the mothers live on a different continent.

Though the movie highlights the particular elements of Indian marriage traditions that clash with the American lifestyles of the characters, the generational differences that spur the conflict are universal. While watching the movie, I was reminded of how nervous I was to tell my parents that I wanted a tiny wedding with fewer than 20 guests, rather than the typical catered dinner with hundreds of attendees (turned out my folks were fine with it). The struggles of the characters will resonate with anyone who’s ever been in a serious romantic relationship.

That said, Walkaway is less accessible than it could be. English subtitles consistently accompany Genevieve’s French-accented English, yet they sometimes disappear when non-English dialogue is spoken. There are mentions of cultural traditions, like Genevieve’s wedding ritual, that needed more explanation. A couple of lines of dialogue could sufficiently explain things to a general audience, without ruining the flow of the movie.

Still, the problems didn’t hamper my overall comprehension of the movie’s universal themes. Walkaway is a promising first effort by filmmaker Shailja Gupta.

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