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Posts Tagged ‘It’s not Bollywood’

Dosto! I’m working my way back from the world of Iranian cinema through Pakistan films, before I eventually land again in Bollywood. I have only seen two Pakistani (Lollywood)  films, one was Khuda Ke Liye (2007) and the other,  Dupatta (1952).  I read about Dupatta at Dances on the Footpath where Richard did a great write up HERE. I’d heard of singer/actress Noor Jehan, who of course I like to call  Mallika-e-Tarranum, the queen of melody.

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Now that’s really and achievement to be a playback singer and actress all in one.  The song that sticks in my mind still months after viewing the film is Chandani Raatein:

Then I found a more recent version of the song and Noor Jehan is really the Queen of Melody in this rendition:

If you want a modern Bally Sagoo remix of the same tune, Darshit told me about this version.

Chandani Raatein is not all that stuck in my head from the film.  If you read this blog, you may have seen me fixate on the use of balloons in Bollywood films.  I love it!  Well this scene from Lollywood surpasses almost all balloon scenes I’ve seen in Bollywood, except for maybe this one from Hum Kisise Kum Nahin.  Enjoy this sweet little murder by balloons scene and keep it in mind in case you need to murder a small child, or anyone easily fascinated by balloons:

The entire film has been lovingly uploded with English subtitles by jimmynoor68 HERE. Now please, take these balloons…no, no, how about from here. Yes now step up here…yes! take them from here…

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baranFor the last couple posts I’ve been focusing on Iranian films instead my usual Bollywood theme.  The other posts have been on directors Abbas Kiarostami and Tahmineh Milani, and this time I saw a film by director Majid Majidi.  Baran (2001) is a film the mesmerized me.  It was so beautiful to watch and was nearly free of dialogue, telling its story through stark, yet beautiful images.

Baran (Persian: باران) is a 2001 Iranian film directed by Majid Majidi, based on an original script by Majid Majidi. The movie is set during recent times in which there are a large number of Afghan refugees living on the outskirts of Tehran. Almost a silent movie, Baran won a number of awards both nationally and internationally for the director and writer Majid Majidi. The movie is about maturing of the character Lateef and his silent romantic interests in an Afghan refugee, Baran, in the construction site where he works. It is necessary to describe the work force at the site to fully appreciate the movie. At the point the story is told, in 2001, there are many Afghan refugees in Iran due to the war with Russia and also due to the oppressive regime of Taliban. There are many Afghan refugees working at the site for far less wages than the Iranian workers. In Iran, the Afghan refugees are not allowed to stay anywhere except the refugee camps unless authorized and hence the Afghan workers need to travel everyday from the camp to the work site. The Afghan refugees also need authorization cards to work in the country but it is difficult to obtain. Hence many of the Afghans are working illegally which is depicted in the movie. Lateef, who is an Iranian, is having an easy time at the construction site with the job of making tea and lunch. He always seems to be making witty remarks which are not taken by some of the other characters in a similar manner, especially Faraj. He is also shown to be very careful with his money and saves every single pocket money he gets. He is also shown to be intolerant towards doves. One day when Lateef comes to work he finds one of the Afghan workers, Najaf, has been injured and is being taken to the hospital. The next day, Najaf sends his son – Rahmat – to work, since he is unable to work with a broken leg and he has many children to take care of. Rahmat is a weakling and is unable to do to the heavy manual work at the construction site. Hence, the contractor, Memar, allocates Lateef’s easy job to Rahmat and Lateef has to help with the construction of the building. Lateef is sore about losing his comfy job and continuously torments Rahmat until he learns by accident that Rahmat is actually a girl. He is really sorry about his early acts and vehemently tries to be protective about Rahmat at the work site, trying to save her from Faraj and the inspectors. (source)

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For more information of the film, and other Majidi films, consult his website.  I also found a nice review of Baran HERE.

Here we are in the dismal, yet somehow lovely work site near Tehran:

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On “her” first day of work, Rahmat (Zahra Bahrami), an Afghan refugee, is welcomed by Lateef (Hossein Abedini).  He offers Rahmat tea and even gives some work tips and bit of help here and there.baran.tea

Yet when Rahmet is given Lateef’s chai wallah job, Lateef is enraged, but not for long because he discovers Rahmet (aka Baran) is really a girl and that he has feelings for her.

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He even helps protect her from work site inspectors looking for the illegal immigrants working at the site.

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“Rahmat” has to leave the work site and Lateef spends time tracking her down, eventually finding her.  Lateef’s search is difficult and lonely, but he gets unexpected support and encouragement from strangers along the way.

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I had so many images from this film that are still playing in my mind.  One of the most gorgeous but sadly poignant scenes was when Lateef spies Baran from afar working in harsh conditions, pulling large rocks from an icy cold river.

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If you’re interested, you can see Baran HERE. I’d also like to see Majidi’s 1997 filmChildren of Heaven (Bacheha ye Aseman) which sounds wonderful.  Please let me know if you’ve seen any of Majidi’s films and what you thought of them.

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Ten_DVDDosto, yesterday I explained my foray into Iranian cinema.  Today I’ll  tell you about another Iranian film I saw, Ten (2002)  directed by the illustirous  Abbas Kiarostami.

Ten (Persian: ده) is a 2002 Iranian film directed by Abbas Kiarostami and starring Mania Akbari. It was nominated for the Palme d’Or at the 2002 Cannes Film Festival and ranks at number 447 on Empire magazine’s 2008 list of the 500 greatest movies of all time. The film is divided into ten scenes, each of which depict a conversation between an unchanging female driver (played by Mania Akbari) and a variety of passengers as she drives around Tehran. Her passengers include her young son (played by Akbari’s real life son, Amin Maher), her sister, a bride, a prostitute, and a woman on her way to prayer. One of the major plots during the film is the driver’s divorce from her (barely seen) husband, and the conflict that this causes between mother and son. Much of the cast were untrained as actors, and the film has an improvisatory element. Elements of the characters were based on the actual life of the main actress and her son. The film was recorded on two digital cameras, one attached to each side of a moving car, showing the driver and passenger respectively. The film explores personal social problems arising in Iranian society, particularly the problems of women. (source)

You may be thinking Sita-ji, what does this have to do with Bollywood or the Indian film industry? Well just DEKH who he’s compared with here, some bahut famous Indian film makers!

Though Kiarostami has been compared to Satyajit Ray, Vittorio de Sica, Éric Rohmer, and Jacques Tati, his films exhibit a singular style, often employing techniques of his own invention. (source)

and

Kiarostami, along with Jean Cocteau, Derek Jarman, and Gulzar, is part of a tradition of filmmakers whose artistic expressions are not restricted to one medium, but who show the ability to use other forms such as poetry, set designs, painting, or photography to relate their interpretation of the world we live in and to illustrate their understanding of our preoccupations and identities. (source)

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Now if Kiarostami is mentioned in the same company as Satyajit Ray and Gulzar, I say that I’ll see more of his films!

I found a few more Bollywood similarities, firstly, the mention of orphans, so very Bollywood, na?

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There is also a lot of sound metaphysical advice given out, also typically Bollywood.  One of my favorite parts came when Mania Akbari’s character tried to comfort her friend who was just dumped with  practical and spiritual advice. I also liked how her friend cut her hair all off in order to move on from her loss.  Here are some of those images:

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I’m almost done posting on Iranian filums and will show you one more tomorrow.  As usual, I’d love to hear you’ve seen this film or any more of  Kiarostami’s works.  I know I’d like to see more of his films, though my dil is firmly in the land of Indian films now and forever.

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Tahmineh_MilaniHey Bollywood Fans!  I’ve been in Iran, well more precisely watching some Iranian cinema. With all the recent turmoil in Iran, I thought the least I could do is watch some of their movies. I was inspired to do this after seeing NBC’s special Behind the veil: Inside Iran which included an interview with director Tahmineh Milani.

Over and over again in Iran, we meet women who are challenging the status quo. Like filmmaker Tahmineh Milani.

Tahmineh Milani: I believe this way. This is the– best way to change people.

Milani is one of the most popular and respected directors in Iran. She’s won numerous international awards for her films, most of which are about the unseen lives of middle-class women in Iran.

Tahmineh Milani: They accept their situation. And they don’t talk, they don’t protest. But they suffer.

Her movies have to be cleared by censors. At least three have been banned. She says that earlier in her career, she challenged the country’s top censor.

Tahmineh Milani: I went there and he start to– accuse me. And he said, “We will bring you and we will– beat you– here.”

Ann Curry: Whip you.

Tahmineh Milani: Yes, whip you. Yes, yes, yeah, whip you.

She was not beaten, but pregnant with twins at the time, she says the stress took its toll. She gave birth prematurely. Her daughter lived.

Tahmineh Milani: And after two, three days my son died.

Ann Curry: Why didn’t you stop your work?

Tahmineh Milani: Because I believe my way. Because, I believe– I can be useful in my society, because this is my society. This is my country. We really love Iran. I choose to live here and I want to keep this place.

In 2001, she made a film called “the hidden half” about a woman unjustly sentenced to death. Ironically, after the film was released, Milani was arrested and jailed and faced the death penalty herself.

Ann Curry: They accused you of being anti-God.

Tahmineh Milani: Yeah, and three–

Ann Curry: Other charges.

Tahmineh Milani: –more dangerous than these.

She says she was given a stern warning:

Tahmineh Milani: “We are going to kill you to be good lesson to another people.”

Ann Curry: They said that to you? They said, “We’re gonna kill you”?

(source and more of the interview HERE. There is also video of the 6 part special HERE.)

So far I’ve seen Milani’s Do Zan (Two Women), 1999; Nimeh-ye Penhān (aka The Hidden Half), 2001; and Vākonesh-e Panjom (aka The Fifth Reaction), 2003 and I’ll share a bit about each here.  It was interesting that all three films starred Niki Karimiand in each film her character was named Fereshteh, though they were each separate unrelated characters. I found that Fereshteh is a Persian name for Angel.

dozanSimilar to many Indian films, every the Iranian films all started off with a dedication to God.  Since God watches movies, I’m sure he/she appreciates the shout outs. I like that merging of art and religion, but I don’t like at American music awards shows how artists thank Jesus, or the Lord, or Jesus my Lord and Savior, I suppose because I’m some sort of hypocrite, but I digress. I should start every post, “In the name of God.”

 

342px-Two-WomanDo Zan (Two Women), from 1999 was, you guesses it, the story of 2 woman who met in college in Tehran and how both of their lives took different courses over the years.

Two Women charts the lives of two promising architecture students over the course of the first turbulent years of the Islamic Republic, creating a portrait of traditions that conspire to trap women and stop them from realizing their full potential. The film won the best screenplay award at Iran’s Fajr Film Festival in 1999 as well as Best Actress for Niki Karimi‘s part in the Taormina Film Festival. (source)

Roya (Marila Zare’i) and Fereshteh (Niki Karimi) are total BFFs, but the revolution and some domineering men really get in the was of things.

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Well looks like the more things change the more they stay the same, hai na?  So if the political situation weren’t enough, Fereshteh is being stalked by a psycho.

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dozan.getawayIt’s not quite love, since he follows her with a knife and threatens her and her friends.  Long story short, she goes back to her home town to avoid the maniac, but he hunt her down. One day while he follows stalks Fereshteh, she drives into a group of kids and kills one of them.  This causes her family disgrace, even though it wasn’t her fault at all. To the “rescue” in court comes man number two, and poor  Fereshteh’s dad marries her off to this guy, who I think is just as bad as the stalker.

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Her mom can’t help her, since her dad and men in general run the show. Now here’s a snap from their little nikkah (wedding) ceremony.  I suppose you may know that the women and girl in the background are doing that happy little screaming thing, but I interpreted it as yawning: they wanted to see a proper Indian wedding ala Bollywood.  See how dull:

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So the husband is a real tyrant and controls Fereshteh as much as possible:

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Sort of makes the stalker seem romantic by comparison.  Eventually she wants out of the abusive marriage and goes to her family for support without luck.

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Well I’d say hey, why not help your daughter, after all you’re the one who married her off to that creep.

♥ ♥ ♥

hiddenhalfNext I saw  Nimeh-ye Penhān(aka The Hidden Half) from 2001 and if you’re expecting a happier story than Do Zan, give up now.

An official is sent from his home in Tehran to hear the final appeal of a woman sentenced to death, a political prisoner. The official’s wife of nearly 20 years, Fereshteh Samimi, writes him a letter to read when he reaches the hotel – the story of her student days during the revolution of 1978. We see the story in flashbacks as he reads: she leaves her province on scholarship, joins a Communist youth group, avoids arrest, and comes under the sway of a suave older man, Roozbeh Javid, a literary-magazine editor. As she tells her husband about the hidden half of her life, Fereshteh asks that he listen to the woman facing execution, a woman and therefore one of Iran’s hidden half. (source)

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Fereshteh meets an older man, Javid (Mohammad Nikbin),  and there’s a mutual attraction, but despite being an intellectual, he patronizes her.

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She asks the party leader the official view on romantic love:

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She gets tired of wearing the seemingly required communist outfits and again questions the party official.

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One of Mr. Javid’s associates helps set Fereshteh straight about the struggle:

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I believe the  movie’s title, the Hidden Half,  not only referred to Fereshteh’s earlier life that her husband didn’t know about but also the (hidden) wife of the older man who pursues her. Later in life Javid and Fereshteh meet again.  He speaks to her about love and to me she looks a bit like Aishwarya Rai here, right?

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♥ ♥ ♥

5thReactionFinally, the last Milani movie I saw was Vākonesh-e Panjom (aka The Fifth Reaction) from 2003.

Fereshteh loses her home and her two sons after her husband’s accidental death when Hadj Safdar, her stubborn and powerful father-in-law, forces her to return to her parents. She is faced with the loss of her visitation rights when Hadj plans to send his grandchildren to live in a remote town. With the help of her circle of women friends she tries to take them beyond his reach, but in a patriarchal society it is hard to find a safe haven. (source)

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Fereshteh is out with the gals in Tehran talking about their teaching jobs.  Her friends are encouraging Fereshteh to stop mourning her husband.

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Her friend also is talking about how great her own relationship with her husband is, but opps! He walks into the same restaurant with his young secretary.

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And then comes the attempted tight slap to the face. How dare she question her husband! Luckily the owner of the place is a true gentleman and sends the crazed, tyrannical husband on his way.

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Fereshteh’s father in law, Hadj Safdar, played by Jamshid Hashempur, tells her that she must either marry her brother in law now that she’s a widow, or he will take her two sons from her.  He believes  she’d no doubt be a temptation to his other son and  would work in conjunction with the devil.

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Fareshteh cannot fathom marrying her brother in law, or leaving her children, so she escapes town with her sons. 

5thReaction.separate 5thReaction.teacher

It becomes a game of cat and mouse between Fareshtah and her father in law.  He tries to track her and her sons down all around Tehran and into the countryside.  Notice like many a Bollywood villains how Hadj wears more that one ring, which I see as a bad sign! Furthermore, whenever you see a pinkie ring, run!  It’s never good.

♥ ♥ ♥

The other Iranian films I’ve  seen are  10  by director Abbas Kiarostami, and Baran by Majid Majidi, which I’ll cover in a post in the next day or two…then it’s back to Bollywood yaar!  Have you seen any of these films or other Iranian films?  Let me know.

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As part of Beth Love Bollywood’s Shashi Week 2009 I would like to add my humble contribution recognizing Mr. Shashi Kapoor’s greatness in Merchant Ivory’s The Householder (1963).   Since it’s the end of the Shashi week, I thought it fitting to show images from The Householder, since it captures Shashi at the beginning of his career. The DVD I watched of the film included a 2003 interview with Shashi as part of the Conversation with the filmmakers,so there’s also an almost current version of Shashi.

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This segment included stills of  the 25 year old Shashi, here pictured with the late Ismail Merchant. Skip ahead to 2003 and  an older and wiser pashmina wearing Shashi is captured. Shashi then and now:

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In this 2003 interview Shashi talks about how Merchant approached him for the part but the screen writer and novelist Ruth Prawar Jhabvala at first rejected him because she thought he was too good looking for the part. He describes going out and getting a budget, more pedestrian looking haircut to make him more suitable for the role.  Here’s a bit about how the Merchant Ivory site describes the film:

Filmed entirely on location in Delhi, The Householder is a comedy that revolves around Prem (Shashi Kapoor), a young teacher at a boys’ college who has been married to the beautiful but retiring Indu (Leela Naidu). Little more than a boy himself, at least in the face of his imperious, impossible mother (Durga Khote), Prem struggles with the burden of his responsibilites as a husband and, when Indu becomes pregnant, with his impending duties as a father. Prem’s fumbling and his mother’s constant belittling become too much for Indu to bear, and she leaves her husband to return to her family home. Left alone with his mother (who delights in her newfound umbilical arrangement), Prem seeks enlightenment from an older married man, from a swami, and from Westerners who have come to India with orientalist illusions and Silk Road naivété. Only then, in Indu’s absence, does Prem fall in love with his wife. (source)

Enjoy these images of Shashi’s Prem in the first part of The Householder, acting like a young married brat complaing to his wife:

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Complaining about his wife:

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I’m not house-proud either Shashi, I mean Prem.  In fact, I’m avoiding housework by blogging about YOU!  Prem even wishes his wife were more like a film star:

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Not me Prem/Shashi,  I hadn’t heard of Nimmi, so I looked her up HERE.  I will make sure to see one of her films now that I know about her.  He keeps bad company who provide poor advice about women and marriage:

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Eventually Prem comes around to appreciate the lovely Indu (Leela Naidu), who gives him the love and support he needs. (more on Leela HERE)

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And they lived happily ever after:

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Merchant Ivory’s site included an great article entitled, There, Where It All Began,  from the Delhi Times on how Merchant, Ivory and Kapoor started their partnership, which includes some of the following plus a photo of Shashi:

It is a long, winding road that leads to 7/7, Daryaganj. Equally long-winding is the celluloid history of yesterday-today1this house, dating back as it does to 41 years. But for three men – Ismail Merchant, James Ivory and Shashi Kapoor – this house is not just about celluloid history: it is about a partner ship which was forged on February 24, 1962 – a partnership which has stood the test of time. For this huge house is where Merchant, Ivory and Kapoor canned the first shot of The Householder – the movie which brought them together for the first time…While sipping on a glass of cola, Ivory points to the beverage and reminisces, “This was the one thing that kept me alive through those 10 weeks of shooting here.” “Yeah! You were always so quiet and bothered,” says Kapoor. “Absolutely, I was always standing under the fan,” confirms Ivory. Having returned to the roots of a 40-year bond, the thoughts of the three men is insightful. How do they feel? “Old,” laughs Kapoor. “Good,” quips Merchant. “Happy,” says Ivory, and gets a picture clicked on what was his first film set. (source)

If you get a chance to see The Householder, go on to see Merchant Ivory’s Heat and Dust (1983),  featuring Shashi playing the part of a scoundrel nawab, which I featured in THIS POST.  Hey, it’s not bollywood, but it stars Shashi, so that’s close enough for me. Now head over to Beth’s site to continue your celebration of Shashi Week 2009 ! Then stop over to Apni East India Company to enjoy more Shashi action! And the jump to Roti Kapada aur Rum for even more Shashi! And here’s one more for the road:

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288644Just what does this remind you of: tragic mothers, slum scenes, orphans, trains, police interrogations, a love story, coincidences galore, super bad gangsters, great music, and references to Amitabh Bachchan. Sounds like Bollywood, hai na? Well almost. In my recent drift to not Bollywood but almost, (The Pool, Heat and Dust) I followed the recommendation of Renegade Eye to go check out Slumdog Millionaire (2008). The movie is based on the novel Q & A by Vikas Swarup. Shri Swarup-ji’s website has lots of great information about book’s transformation into a movie. From an interview with the film’s director, Danny Boyle:

‘It’s called ‘Slum Dog Millionaire’, It’s based on a true story, and it’s about a kid from the slums of Mumbai, who has nothing – he’s ill educated, he’s illiterate – and he goes on the Hindi version of ‘Who Wants to be a Millionaire’ and wins it. And they can’t believe that he’s done it. They think he’s cheated. They think he’s getting signals from embedded chips in his body, or that there are people coughing in the audience, but he won it. ‘What’s clever about the film is that the structure shows you how he knows the answers. Certain things have happened to him in his life and they happen to ask questions about those things. But the real reason he’s on the show is to get in touch with the girl he loves but has lost in the chaos of Mumbai, and all he knows is that she watches the show religiously. So he’s not even there to win the money, but that’s when you win I suppose, when you’re not even trying.’ (source)

I was lucky enough to get tickets to the premier of the film, and just like when I watched  The Pool ( 2008 ) in a theater recently, I was surprized that this movie had some Bollywood stars, but this time I didn’t cry out “Anil Kapoor! Irfan Khan!” when I saw my familiar Bollywood friends on the big screen and avoided being shushed. Phew! There are several other fantastic Bollywood character actors in this film that my Indian Film Industry fans will recognize, like the inspector, Saurabh Shukla. I love a film on the big screen, but there are definately perks to watching at home where horrific scenes can be muted or fast forwarded and this film has a couple of those, so be preparred. I nearly walked out, but was glad I stuck it out and stayed. I loved the tribute to Amitabh Bachchan within the film and I wonder if Amit-ji has seen it. I don’t want to give anything away, but it’s really a very sweet honor paid to Mr. Bachchan and I’d love to hear his reposnse to it. Ifran Khan is also fantastic as the police inspector, but who am I to say since I love all his work.

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Anil Kapoor plays an arrogant host wearing a sleazy suit. He’s perfect! Get a taste of that HERE.

I LOVE the song Paper Planes by M.I.A. (Maya Arulpragasam), and was so excited that it popped up in this film, look:

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Bollywood popped up again in a scene where people were watching Aaj Ki Raat from Don (2006) with music by Shankar-Eshaan-Loy and playback singers Alisha Chinoi, Mahalakshmi, and Sonu Nigam. Since I was in an art house theater I didn’t scream out, “Hey that’s Priyanka from Don!” But I thought that! I also thought “Aaj ki raat means tonight, do you people know THAT!?”

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Just like many of the best movies India has to offer, this one has a score written by A.R. Rahman. Listen!

During the film I thought how it reminded me Millions (2004), and no wonder, because when I went home and looked up Danny Boyle, I saw that he also directed the sweet and beautiful Millions.

I’ve given you plenty of reasons to see this film, and if you’d like to see more, watch the Slumdog trailer.

p.s. Stop over the MemsaabStory for a review of the film.

p.p.s.  I had wondered about Amitabh’s reaction to his tribute in the film, which he has since commeted about in his blog, which I first read about in an article by Emily Wax.  Washington Post Foreign Service writer Emily Wax’s insightful article, Protests & Praise “Slumdog’s’  Mumbai Realism is Divisive contained a bit of Amitabh’s reaction:

 

One of India’s iconic Hindi film heroes, Amitabh Bachchan, whose likeness appears in the movie as the object of a slum child’s adoration, criticized the film for portraying a poverty-stricken India. Big B, as he is known in India, wrote in his blog that if the movie “projects India as [a] Third World, dirty under belly developing nation and causes pain and disgust among nationalists and patriots, let it be known that a murky under belly exists and thrives even in the most developed nations.”

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I’m on a non-Bollywood streak, but like yesterday’s post, this movie has a big Bollywood star, so I have to post about it.  I saw The Pool (2008) (not to be confused with That Pool) last week at an art house theater, so I’m not surprised that I was shushed. Here’s how it happened.  I’d skimmed an article about the movie and thought I’d read that there were a lot of non-actors in it. It takes place in India and it’s about a pool.  I love pools!  I love India! So I had to see it. So I sat there, and quietly whispered just a couple of things to my friend during the movie.  One being, “It looks just like Mexico!” The other thing I may have said above a whisper, because my heart wanted to shout, NANA PATEKAR!  I didn’t know HE was in THIS!  I LOVE HIM! That’s when the shush came.  I know talking is annoying in a movie theater, especially an art house theater, where the intellectual gather, just waiting for a chance to shush.  The poor guy that shushed me obviously didn’t understand just who Nana Patekar is and thus why he could evoke such enthusiasm in me.  He actually first made the shush noise, followed by, “Hey come on guys.” I thought No sir-ji, you come on! Why aren’t YOU excited to see Nana?

Here’s the trailer for the film:

synopsis:

Daydreaming about one day getting an education, Venkatesh works as a “room boy” in a hotel in Panjim, Goa, in India, and he sells plastic bags on the side with his young friend, Jhangir, to make ends meet. When he becomes enchanted by a sublime residential pool, Vankatesh gets entangled with the mysterious family that inhabits the home. His relationship with the rich father and his cynical, sophisticated daughter disrupt his fixed ideas and unexpectedly alters his destiny. (source)

Now back to the shushing guy.  I wanted to say this to him: “Do you even KNOW who Nana Patekar is!?!?!  Did you see him in Salaam Bombay?  Did you see him in Parinda (1989: Winner, Filmfare Best Supporting Actor Award )!? Apaharan? Taxi Number 9211? How about that psycho he played in Shakti-The Power?” Then after saying that to the shusher, I’d want him to face Nana, looking at him like this!

Now do you still want to shush me?  I didn’t think so!  Of course Nana is excellent in this very sweet film and now if you go you won’t be surprised that he’s in the film, so you won’t make any noise and thus you won’t be shushed. And to the shusher, I apologize to you again, as I did that night.

 

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